Skip to main content

Full text of "Starlog Magazine Issue 059"

See other formats

with Exclu 

* (see 

Filming the thing 

Part 2: 
Who Goes Tl 




• jwiin mt^Ktwui- mt .tfN tK-rKiot UN me 

vim ui V v i 

Stage Performances 
In'The Round 




■ ■ 


and introducing K i r s t i e Alley 
Harve Bennett, producer ot n« m sta 

Producer of New Star Trek Film 

and Kerry O'Quinn, 

Publisher of STARLOG 

Featuring .Special "'Effects, Musical Score, Dramatic. Stage Production 

Texas Size Door Prize ■ • . ■ .. . • . ' \* 

. Professionally Created Model of Your Favorite Star ship • 
Featuring Special Effects Fully Plexi-Gl«ss Encased" 

. ■ . jW lV& 2*0, i?82 : •> , • . ■ ' ■ 

;'•.-:." The E>bu!ous. SUMMIT Indoor Sports Arena ;'•' • • ..' '■" ' 

i ; ' • 1.Q Green way Plaza '...-' .,. .'••.■ ■'*'' 

Houston, Texas' ■"■/■■-.,• -"- -. ' •• ."' • 

•'. '•'•"- • : .. - ..-",-*.' t . . ..'■ ■ • 

• Each Show 4 Hours Long • . ' '. ..-..• 

", ■' ' ' .' '■""■ '■: " .' "•;*>'" '"■'''• "■ ' ■•'-.■■ ■ :■'.'■ ■' " : ", ■ 

TICKETS: $30.00; EACH (LIMITED-STAGE EL^CXDR SEATS $75.01) EACH)' .'. ... [ ' 


. For Show and Other Trek Related Activities GALL-f-860-23l-26S4 ' • 

• In Texas fl'-3-72T-S437. Or WRITE: PRODUCTION VENTURES, INC. " 
. • ■'■ •:.... -..' •. ■ ' .11333. Chimheyrock '■' *,. . • '.'■'■•■ ..' 

"/." • ' ..• '-.-.; '■■ •Houston,. Texas 77035 .■"..;. -V ' '. 

^ mm ^ THE MACA 

JUNE 1982 

Number 59 

v- 1 

«e - " 
t * 


* ■ - '" 1 ■ : • 

- .* ..-am 


j V 

P. 16 





Letters From Our Readers 




Behind the Scenes With Cast & Crew 



Latest News From The Worlds of Science Fiction & Fact 10 


Director Paul Schrader Breaks the Silence_ 





FX Careers In Retrospect #1 David S. Horsley, ASC_ 


History Of The Spaceship— Part 2 






introducing The New Cast Members 30 



Number 4— "Star Trek: The Motion Picture" 


An interview With Photographer Dean Cundey_ 





The Second installment Of John Campbell's 
Spellbinding Story, The Basis For "The Thing" 


Previewing This New Fantasy Film. 


STARLOC is published by oquinn studios, inc., 475 Park Avenue South, New York, n.y. 10016. (ISSN 0191-4626) This is issue Number 59, June 1 982 (Volume Five), Con- 
tent is © Copyright 1982 by OQUINN STUDIOS, INC. All rights reserved. Reprint or reproduction in part or in whole withoutwritten permission from the publishers 
is strictly forbidden, starloc accepts no responsibility for unsolicited manuscripts, photos, art, or other materials, but if freelance submittals are accompanied 
by a self-addressed, stamped envelope, they will be seriously considered and, if necessary, returned. Products advertised are not necessarily endorsed by 
starloc, and any views expressed in editorial copyare not necessarily those of starloc. second class postage paid at NewYork, NYand additional mailing offices 
Subscription rates: S23.99 one year (12 issues) delivered in U.S. and Canada, foreign subscriptions S29.00 in U.S. funds only. New subscriptions send directly to 

starloc, 475 Park Avenuesouth, NewYork, NY10016. Notification of ehangeof address orrenewalssendtoSTARLOCsubscriptionDeot po Boxl42 Mt Morris 
IL 61054. Printed in U.S.A. 

JUNE 1982 #59 

Business and Editorial Offices: 
O'Quinn Studios, inc. 

475 Park Avenue south 
New York, NY 10016 




Associate Publisher 

Circulation Director 


Art Director 

Managing Editor 

Science & SFX Editor 

Associate Editors 




Senior Designer 







Editorial Coordinator 

Financial Manager: Joan Baetz 
production Assistants: Cindy Levine, Eileen 
Dempsey, Norma Garcia, Sue Oster, Peter Pong,. 
Eddie Be rganza. 

co ntributor s This issue: Nick Cuti , Paul Mandeii, 
Ed Naha, Norman Splnrad, Steve Swires, Lily 
Unger, Deborah Upton. 

For Advertising information: Rita Eisenstein 

(212) 689-2830. 

ABOUT THE COVER: Arnold Schwarzenegger as 
Conan the Barbarian. Here, Conan poises for bat- 
tle against trie evil Ttiulsa Doom. This Issue we, take 
you behind the scenes wtiere you win meet the 
hardy cast and crew of this action-packed sword 
and sorcery epic. 



Ayn Rand's 

On March 6, 1982, Ayn Rand died at her apartment in New York City, at the age 
of 77. 
Ayn Rand was not a science fiction writer, although her novels Anthem and 
Atlas Shrugged are projections of the future and both plots involve science and tech- 
nology. She was a fiction writer, a philosopher, a playwright, a lecturer, a screenwriter, 
an editor and the most controversial intellectual figure of the twentieth century. 

The philosophy she created, Objectivism, went against virtually every idea that has 
come to be generally accepted in our world. 

Whereas religious ethics preaches that self-sacrifice is a moral ideal, Ayn Rand said a 
person's "self' must not be sacrificed— that there is no conflict in pursuing your per- 
sonal goals and also respecting the goals of others. 

Whereas political systems proclaim that citizens are bound to support the government 
(and, in many cases, to be enslaved by government force), Ayn Rand said that govern- 
ment exists only to protect the individual rights and property of citizens — and ought to 
have no powers beyond those functions. 

Whereas intellectual thought has accepted emotional and mystical insights, Ayn Rand 
said that reason is man's means for understanding reality — and logic is the system by 
which we sort the valid facts from the whims and feelings. 

Whereas literature and movies and art in this century have grown to laugh at ideals 
and heroes, and have banished them into the realm of comics, murder mysteries and 
space fantasies, Ayn Rand said that heroes are as necessary to the health of the human 
spirit as oxygen is to the body — that art can show us the human potential at its most 
profound and most glorious. 

For those ideas, and many others, she was condemned and viciously attacked 
throughout her life. For directing our attention out of the drab gutters of daily life, up- 
ward toward things more inspiring, she was intellectually spit upon. She was called 
impractical and unrealistic — dangerous and unfeeling. 

But she remained the champion of the individual. Her best-selling novel, The Foun- 
tainhead, presented Howard Roark, an innovative architect of unbending integrity and 
unyielding determination. Roark is condemned by the intellectual voices of his world 
but never gives up in his struggle toward success. 

In We The Living, the heroine is a young woman trapped in the grey nightmare of 
early Communist Russia, desperately attempting to keep alive her sense of joy— her love 
of being alive— while every force around her attempts to trample out the precious flame 
that burns within her soul. 

Anthem shows the world of the far future, in which a young man crawls into a de- 
serted subway tunnel and begins the re-discovery of science— the wonders that the col- 
lectivistic world in which he lives has killed— and in the process, he discovers the exhilar- 
ation of having a searching, independent mind. 

Atlas Shrugged is Ayn Rand's full, dramatic statement of her philosophy of life. In 
this complex, epic mystery, she projects our world in the near future, deteriorating ra- 
pidly due to the philosophy we have accepted and are attempting to practice. Into this 
cultural whirlpool, she places a cast of heroes who grow to understand what is happen- 
ing and take bold steps to save themselves from the undertow. John Gait is the ultimate 
expression of the Ayn Rand hero — the man who leads the best minds of the world on 
strike and stops the motor of civilization! 

She was a harsh critic of society — especially of the philosophical ideas that form so- 
ciety—but she believed that cultural trends can be changed by the efforts of thinking in- 
dividuals. She believed that the human race is still in its pre-rational period, and that the 
world of the future will be a place in which individuals are free to pursue whatever 
brings them happiness — rising as far as their abilities will take them — with productive 
enterprises replacing the irrationality of wars, dictatorships and man's inhumanity to man. 

Ayn Rand's heroes challenge the world of the present with their visions of the world 
of the future— just like the amazing, provocative woman who gave them live. If a better 
tomorrow is your concern also, you owe it to yourself to sit down and find out "Who is 
John Gait?" 

Kerry O'Quinn/Publisher 

This Month In 




As a special exclusive, through the courtesy 
of Mick Carris of Universal Pictures, FANr 
GORIA brings you an awesome panel discus- 
sion entitled "Fear On Film" whose partici- 
pants include none other than John Landis, 
John Carpenter and David Cronenberg. 
These three new titans of terror will discuss 
in detail the ingredients for a successful hor- 
ror film. Three giants in the field all at one 
dais! Who will survive. . and what will be 
left of them? 

As this issue wil I hit the stands in May, a spec- 
tacular futuristic action film will be opening 
in theaters. The Road Warrior is the sequel to 
Mad Max and it may very well be described 
as Australia's Raiders of the Lost Ark. These 
two Mad Max films are by far and away the 
most successful movies in the history of the 
Australian film industry and we will provide 
an exciting behind-the-scenes glimpse of the 
current nail-biting Mad Max adventure with 
a talk with producer/stunt driver/sound man 
Byron Kennedy. Get a special preview of 
what may be the next American box-office 

The revival of 3D horror will also be featured 
in this jam-packed issue. Exclusive inter- 
views with Charles Band, the producer-direc- 
tor of Parasite, and Earl Owensby, the North 
Carolinan maverick who has made the killer- 
dog tale Rottweiler, will show you what three 
dimensional terrors lay before you. And fol- 
lowing up on previous on-location reports. 
Uncle Bob Martin will let you in on his visits 
to the sets of John Carpenter's The Thing [in 
far-flung, ice-bound British Columbia) and 
George Romero's Creepshow {in exotic Pitts- 

And still there'll be more! Backing up these 
fabulous features will be interviews with 
young makeup whiz Greg Cannom; Paul 
Clemens, star of The Beast Within; a Val Lew- 
ton retrospective to commemorate the cur- 
rent remake of The Cat People; and a talk 
with Roger Corman standby Dick Miller 
whose on screen exploits have ranged from It 
Conquered the World to Little Shop of Hor- 
rors to The Howling'. 



GREETINGS, Fangorians! 

This is The THING speaking 

to you from the RANCID 


For about TWO MINUTES, I've 

been granted a DIRECT LINE 

to the land of the : 

to tell you 

Le living // 


1 . The MOST IMPORTANT reason is that you'll be getting 
news, reviews and contests cooked up by yours truly, the 
Thing, in the subscriber-only "CASTLE FANGOR 
NEWSLETTER"— available nowhere else! 

2. SAVE MONEY— eight issues of FANGORIA (one full 
year) would cost you $18.00 at newsstands. Subscriptions 
cost only$13.98! That's a saving of over 15%! 

3. FREE CLASSIFIED AD— Make friends and influence 
people in whatever weird way you like (as long as you're not 
selling anything) in your own little piece of FANGORIA— a 
three-line, non-commercial ad— ABSOLUTELY FREE . 

4. SPECIAL DISCOUNTS! Discounts on back issues and 
other merchandise of vital importance to Fangorians have 
been privately offered to subscribers over the past 

Sear— don't miss our next offer!!! 
>. FANGORIA ITSELF!!! The magazine worth a king's 
ransom! The only magazine covering your favorite terrors 
in-depth, in color, and without using the word "lensed" 
when we mean "filmed!'* Delivered straight to YOUR DOOR!!!! 


su fcS - 



DANGEROUS to your 



Send cash, check or money order to: 
FANGORIA, DEPT.S59, 475 Park Ave. South, New York, NY 10016 

□ This is a renewal of my current sub- 
scription, and I have enclosed my mail- 
ing label along with payment. 

Enclosed $13.98 (for subscription or renewal) 
$17.98 One year foreign surface 

Total: $ 






(limit: 45 characters per line) 
(Non-commercial, non-profit only!) 

NOTE: Your free listing will appear in the 
next available issue of FANGORIA. Space 
limitations may force late listings into next 
issue. First come, first served. 


Because of the large volume of mail we 
receive, personal replies are impossible. 
Comments, questions and suggestions of 
general interest are appreciated and may 
be selected for publication. Write: 
475 Park Avenue South 
8th Floor Suite 
New York, N.Y. 10016 


. . .This note in regards to Howard Zimmerman's 
"Lastword" and specifically his comments 
about Star Trek — The Motion Picture in 
STARLOG #56: The film has many faults— pac- 
ing, editing, special effects in a couple of se- 
quences, acting by bit players — but the character 
development of Spock was not one of them. How 
can it be said there was no development, 
remembering the sickbay scene in which Spock 
finally realized that he, like V'ger, was barren 
without a balance of logic and emotion? 
Also — the denoument, the "ultimate tag line," in 
which Spock theorizes that V'ger will have to 
learn to deal with human emotions, implying the 
same for himself. The film resolved the emotional 
turmoil that plagued Spock throughout the series 
and in most of the fiction written since. If 
anything, ST-TMP closed the book on Spock as a 
plot element concerning character conflict. In 
future outings, he should be portrayed as a self- 
assured Vulcan/Terran with the perfect balance 
of the most outstanding qualities of both species. 
As for your other points — I think it's about time 
that a major segment of Star Trek fandom grew 
up. This is a fictional character, and we must face 
the fact that whoever holds license to the 
character can do whatever the hell they want with 
it from now on. Star Trek has been and will con- 
tinue to be an uplifting and entertaining affirma- 
tion of our future in space (another strong point 
of the film). Pressure groups like the Concerned 
Supporters of Star Trek, who took an ad in the 
Dec. 9 issue of Variety, amount to little more than 
the Moral Majority— threatening boycotts and 
financial backlash because of artistic decisions. 
Personally, the only hope I have for Star Trek //is 
because of the presence of Nicholas ( Time After 
Time) Meyer at the helm. Thanks, Howard, for 
another thought-provoking editorial. 

Keith Roysdon 

Muncie Evening Press 

Muncie, IN 


. . .In #54's "Log Entries," you said that "just 
about the entire cast" will be returning for the 
new Star Trek film. Could you please tell me just 
who is not returning? 

Daniel Brooks 

Crescent Heights 

Ontario, Canada LOG 1J0 

Grace Lee Whitney (Rand) and Majel Barrett 
Roddenberry (Chappei) will not be in Star Trek: 
The Vengeance of Khan. 


. . . Quest for Fire is the most awe-inspiring movie I 
have ever seen. Its literally breathtaking photogra- 

6 STARLOG/June 1982 


. . . Having seen Superman The Movie about a 
dozen times, I was anxious to watch it on its net- 
work premiere because I hoped the scenes I always 
wanted to see would be restored (the Executioner 
on Krypton, the train sequence with Noel Neill & 
Kirk Alyn, and Superman's trials in Luthor's Lair). 
I was pleasantly surprised to find that not only were 
they restored, but that the entire movie was differ- 
ent. Virtually every scene was expanded upon with 

more dialogue, more special effects. Music from 
the soundtrack album that was not in the theatrical 
version was finally heard in areas previously silent. 
While watching, I became angry as I realized I had 
only seen a fraction of what was filmed. In fact, I 
now feel as though I've seen Superman The Movie 
only once and have seen a preview of it 12 times. 

Carl Mastromarino 

199 Sheridan Ave. 

Medford, MA 02155 

phy and six-track Dolby sound add to the film's 
brilliance. Philippe Sarde's music score is fantastic 
and, in parts, even comparable to some of the 
greatest pieces of the king of film scoring, John 
Williams. The acting by all was impeccable. All in 
all, Quest for Fire is a marvelous film that should 
not be missed by anyone. 

Bob Towson 

1 Nordic Court 

Whitby, Ontario 

Canada LIN 5N2 


... I was very disappointed in your March 1982 
magazine. The one article I am referring to is 
"STARLOG Retrospective: Return to the 
Vortex." If you would like me to narrow it down 
even further, it concerns The Plot. I had just seen 
the movie for the second time only three hours 
before, and the picture I got was that Mr. 
Maronie had never seen the movie. He says: "Zed 
escapes from his captors and finds himself drawn 
to a decaying house occupied by the missing 
Frayne. The Eternals find both the Outsider and 
their fellow citizen. . ." This really bothered me 
because I think that in such a well-read magazine 
as STARLOG, the writers should at least get their 
facts straight. He doesn't "escape," but rather, 
Meg probes his memory to try to find out what 
happened to Frayne. Once he is inside the Vortex, 
he never gets out, until the end. This is the same 
scene where Zed is blinded by Consuella's mental 
power. I am surprised this article even got by the 
editor's desk. In future, I hope you give your 
retrospective articles to people who have at least 
seen, or understand, the movie they are review- 

Neil Harris 

47 Essex Lane 

Sault Ste Marie 

Ontario, Canada 

P6A 6L5 


. . . Hopefully some of the rumors concerning 
Star Trek II will not be realized. (STARLOG 
#55). A new hybrid alien who is half-Vulcan/half- 
Romulan? But just 7 Vi years ago S7"time, neither 
side even knew what the other looked like in 
"Balance of Terror. ' ' How, in that short amount 
of time, could the two races establish a relation- 
ship, perhaps have an interracial marriage, and 
produce a child old enough to be in Starfleet?! 
FLAW! Interesting, too, that Khan Noonian 
Singh plans revenge against Kirk after Kirk 
dropped all charges against him and provided him 
with the means to create a new world for himself 
in "Space Seed." I was surprised to hear of 
Leonard Nimoy's "pro-Spock" statement and 
am now totally confused on the issue. I am con- 
cerned about the welfare of Star Trek and want it 
to retain its high quality and standards. Now talk 
of yet another old flame for Kirk with an il- 
legitimate child to boot! What's that? Brand new 
uniforms? Again? We were just getting used to 
the other new ones! What next? Where is the 
Great Bird of the Galaxy?! His guidance is im- 

Ed Belmessieri 

Danville, Calif. 


. . . News in #56 of the remake of The Day of the 
Triffids certainly came as a welcome surprise. I ' ve 
always considered the original film to be a highly 
underrated classic. All the elements, drama, 
music, acting and effects were all brought 
together with great care. And it still holds up well 
today. The additional footage in the lighthouse 
blended beautifully as a story-within-a-story. 
That half-hour segment could easily stand by 
itself as a short story — well done, Freddie! 

Paul Sanchez 

1516 Bonanza #2 

Las Vegas, NV 99101 


...After reading "The Death of Solomon 
Short' ' in #56 (by David Gerrold), I was disgusted 
and offended. I was also quite disappointed that 
you would let that sort of thing into your 
magazine. In the future I think you should have 
more SF and less of that sort of thing. Now for the 
compliments: I think your new poster series is 

Jeff Hill 

23261 Via Gwadix 

Mission Viejo, CA 92691 


... I was recently able to hear the complete Star 
Wars radio adaptation done by National Public 
Radio. I was very pleased and thought they did a 
fine job. And now we're hearing Jack Flanders. 
This is another good series. There is a lot of imagery 
in the narrative. Only recently have I found NPR 
on my radio, and I'm happy that I have. 
Rob Lansley 
N. Chatham, NY 

... I was astounded to see a Log Entry in STAR- 
LOG #56 about The Incredible Adventures of Jack 
Flanders. A few weeks ago I found the NPR Infor- 
mation Service number (1-800-424-2909) which I 
used to call about Star Wars. They gave me a local 
station to listen to and a list of all NPR Playhouse 
shows and times. I heard the first episode of Jack 
Flanders and was engulfed in sheer excitement and 
suspense (even a little careful thinking). Who needs 
poor, sense-dulling TV when one can use imagina- 
tion stimulating radio? 
.Bryan H. Bell 


South Salem, NY 10590 


. . . Regarding your interview with Ed Bishop (of 
UFO) in #55; according to that article, Gerry and 
Sylvia Anderson's series, UFO, began production 
in 1969. However, in the article and episode guide 
back in STARLOG #5, the series wasn't even con- 
ceived until 1972. Which is the correct year? 

Veronica Eller 

2072 S 600 E 

Marion, IN 46952 

UFO went before the cameras in 1969 at 
MGM/Borehamwood Studios and wrapped in 
!970atPinewood. It premiered in the United States 
in the fall of 1972. 


. . .We fans of ■Rafefereo/rteLasM/* have often 
had to endure the slings and barbs of self- 
proclaimed critics who rail against it as mindless, 
unbelievable entertainment. Perhaps the one 
scene that they take the most delight in rehashing 
is, of course, the famous submarine scene. 
"How," they ask in gleeful anticipation of your 
imminent discomfiture, "could Indy have hung 
on to the submarine for all that time without it 
ever once submerging?" Well for all you fellow 
fans who have grown tired of this; my brother, 
who is in the navy and has studied submarines, 
has imparted to me a few facts that may answer 
some of this criticism. 

Submarines in the late 30s and early 40s used an 
airbreathing diesel for propulsion. Submerged, 
they would have had to switch to a battery 
powered electric drive which would have lasted no 
more than a day or two before they would have 
had to surface and recharge it. Also, submarines 
of that era had a limited supply of oxygen. Thus it 
made more sense to stay above water and con- 
serve your oxygen in case you needed it later. A 
third factor was the fact that these older sub- 
marines, although designed for combat under- 
water, could travel better and faster on the sur- 
face rather than below it. Thus a submarine back 
then would only submerge in the event of en- 
countering enemy warships or aircraft. Given the 
fact that in 1936 there was no state of war, there 
was nothing for the Germans to fear and thus no 
reason for them to expend the effort of travelling 
underwater. Taking these facts into account, the 
U-Boat that Indiana climbed onto would pro- 
bably have made its long trip on the surface for 
reasons of speed and maneuverability and conser- 
vation of oxygen and battery power. 

Katherine Curda 

425 Knowlton/Northeast 

University of Massachusetts 

Amherst, Mass. 01003 


. . . What happened? I browsed through #56 and 
noticed that "Quest" was nowhere to be found. I 
find it to be the best feature STARLOG has ever 
done. Please bring it back. 

Mark Robbins 

4191 Glendale Avenue 

Salem, OR 97305 

"Quest" is an irregularly scheduled feature. Some- 
times we need extra room and "Quest" is 
"bumped." Rest assured, however, that the 
feature will continue to make appearances in our 


...Ron Miller's column, "Futures Past" (love 
that art deco logo), lacks pretentiousness — one of 
the many reasons why I look forward to reading it 
in STARLOG. Miller's thumbnail sketches of vi- 
sionaries Verne and Gernsback are even-handed 
and lucid. As a consequence, he tends to put the 
two writers into proper perspective. I hope H.G. 
Wells, Konstantin Tsiolkowsky, George Orwell 
and Aldous Huxley will be subjects of commentary 
in times to come. 

Al Christensen 

Tacoma, WA 


... I was so excited about the mini-record you had 
in STARLOG #55 with the music from my 
favorite TV series, The Avengers. I tried to find 
the record in the stores, but they don't seem to 
have it. How can I get it? 

Peter Andrews 

Seattle, WA 

The new record album of music from The 
Avengers, New Avengers andJht Professionals, 
(Soundtrack Series, Vol. Ill), will be offered in 
our records' ad the minute it is available. Test 
pressings, incidentally, indicate one of the most 
incredible analog recordings you 've ever heard, in 
terms of fidelity, dynamics and clarity! We hope 
you will agree that it is well worth the wait. 


. . .Mr. Zimmerman hit it right on the button in 
his "Lastword" (#56). I believe that Paramount is 
just out to get more people to go and see Star Trek 
//by telling the fans these false stories, then really 
telling the truth about what's in store for the 
Enterprise this time. I find it really disgusting that 
Paramount publicity has to stoop that low to 
sweep in the fans. 

Dave O'Neill 

720 Maple Lane 

Hoffman Est., IL 60194 

It seems Paramount has stopped commenting on 
the issue ofSpock and has started concentrating 
on the actual film. First step was a name change. 
It is no longer Star Trek II but Star Trek: The 
Vengeance of- Khan. Our extensive coverage 
begins this issue with an introduction to the new 
cast members, beginning on page 30. 


... I am an avid fan of The Batman. I use the arti- 
cle to denote the Darknight Detective of the com- 
ics, rather than his flabby, unintelligent namesake 
who bumbled his way through three seasons of net- 
work television. I have 200 Batman comics in my 
collection and been eagerly awaiting the release of 

STARLOG/June 1982 


the new film since it was announced. But, when I 
read of the "Put the Man Back" campaign in #56, 1 
was astounded, shocked, infuriated, and terrified. 
1 think it is deplorable that Devereux, Harvey, 
Branemeier, and Hall are telling producers Uslan 
Melniker to depart from their stated objectives. In 
#5 1 , Uslan stated that the movie will interpret The 
Batman as a younger man than he was in the 1960s. 
Therefore, the idea of casting West, who has aged 
15 years since he last wore the cowl, as a younger 
man is ludicrous. Furthermore, in the same article, 
Melniker stated that the film would be a serious 
drama. Don't Devereux et. al. realize that if West 
were cast his camp shadow would follow him 
throughout the film, destroying any realism or hu- 
manity that might be in his performance? In addi- 
tion, I think it's regretable that the "Put the Man 
Back" campaign started at all. I'm sure its leaders 
never heard of Ra's Al Ghul, Rupert Thorne, Joe 
Chill, or Hugo Strange (all famous Batman 
villains). I'll bet they don't know that Bruce Wayne 
became The Batman because he saw his parents 
gunned down in the street (an origin written in 
1940). There's no doubt in my mind that when they 
think of The Joker they recall Caesar Romero's 
camp performance rather than the sadistic murder- 
er who made his debut in Batman #1 and who still 
appears in the comics. And yet, for some reason 
these people feel qualified to force upon the rest of 
us their own uninformed notions of what a Batman 
film can and should be. In conclusion I would like 
to appeal to all the real Batman fans who want to 
see the young, briliant musclebound detec- 
tive/escape artist/martial artist we know and love 
from the comics faithfully transferred to the 
screen. I am not holding a grudge. I am trying to 
salvage a legend. 

Lewis Judd 

13524 Auburn Rd. 

Chardon, Ohio 44024 


... I feel obliged to warn those poor souls who 
boggle over ' '23 Skiddoo' ' in #56 that they are be- 
ing led into a dubious forest of mere coincidences 
away from the treasure of True Synchronicity. By 
perverse irony it is the number 32 which is the 
guide to genuine mysteries and not 23. 1 invoke as 
proof authority of the / Ching for the 32nd hex- 
agram therein expresses the continuity of ex- 
perience. Supporting empirical data is plentiful. 
Consider: the freezing point of water — 32°F; 
gravity's acceleration— 32ft/sec 2 ; the Sun's 
angular diameter — 32'; the Moon's rate of reces- 
sion — 32mm/yr; UFOs seem to favor 32s as in- 
dicated by Andereasson Affairs's Signal Base 32 
and the 32 members of the Interplanetary Con- 
federation. The movies CE3K and Earthbound 
both sport a kid wearing a large 32. The classic 
The Day The Earth Stood Still was 1 hour 32 
minutes long. Even more fascinating is the fact 
that 32 crops up as the period of Sirius C in one 
ed tion of The Sirius Mystery which so amazed 
Robert Anton Wilson in Cosmic Trigger. Wilson 
himself was born in '32. I could go on with the 
Cabalists' 32 astral plans and such but you get the 
trend of it by now. Those who persist in the folly 
of following the path of the 23 Enigma would do 
well to consider the wisdom of the / Ching 's 23rd 
hexagram: "You are off balance." 

Martin Kottmeyer 

Rt. 3 Box 31 

Carlyle, IL 62231 


. . . The Greatest American Hero is good enough 
a series, that it probably doesn't need my defense, 
but in all justice, I felt a defense was in order. Al 
Christensen was needlessly trashing the best net- 
work science-fiction series now running new 
episodes. (Can he name a better one?) GAH is 
light entertainment. It doesn't pretend to be 
Gladiator, Slan or Odd John. As such, it is quite 
good. Christensen says that the plots are con- 
trived and derivative. Maybe, but so are the plots 
of most TV shows. GAH has yet to have a gen- 
uinely bad show. What other TV show can you 
say that of? Ralph's character is brought out by 
showing his relationship to his students. So, the 
students do have a function in the series. As for 
Ralph being a dummy, believe it or not, he is quite 
clever. He has mastered the suit's powers. For ex- 
ample, his holographic vision and super speed are 
both done quite well. It is only flying he has trou- 
ble with. He cannot tell what he is doing wrong 
since he has lost the instruction book. The show 
has a few faults but they are all relatively minor. If 
Al Christensen cannot appreciate an entertaining 
series, I suggest that he just not watch it. Believe it 
or not, some people enjoy the series. 

Donald Alan Webster 

Hapeville, GA 


... I recently attended the third Omnicon in Ft. 
Lauderdale, and I had the privilege of meeting the 
charming and talented Kerry O'Quinn. WHAT a 
thrill for me. . . I've admired his many magazines 
as long as I've been reading them (in the case of 
STARLOG, since the very first issue). I think fans 
should know, Kerry really cares about what goes 
into his magazines, and, more importantly, about 
the people who read them. That impressed me. His 
eyes don't gleam with dollar signs, like many pub- 
lishers, but with a vision. Kerry, you're okay in my 

Becky Novak 

1601 S.W. 11th St. 

Ft. Lauderdale, FL 33312 


... I have read in many magazines, including 
STARLOG, of people longing to get the Star Trek 
Starfleet Technical Manual. There is hope for these 
people. There is a book company that is selling the 
Manual for $3.98. If you would like to purchase 
one, simply send for a catalog to: Publishers Cen- 
tral Bureau, Department 141, 1 Champion 
Avenue, Avenel, NJ 07001. Its catalog number is 

Jacques Harry Benoit 

708-18 Avenue 

Irvington, NJ07111 


. . .About a year ago (#41), you mentioned that 
Melody Anderson would be in the movie Dead and 
Buried, to be released in February of 1981. It still 
hasn't come to my city and I'm wondering if some- 
thing has happened to prevent distribution. 

Brian Hampel 

126 Highbury Place 

Saskatoon, Sask. 

S7H 4X7 Canada 

Dead and Buried has been released, but on an ex- 
tremely limited basis and with almost no publicity. 
There has been no national release, but rather a city 
by city playoff much like the very small lo w-budget 
films that can take months to see theater play 
around the country. It's really anybody's guess as 
to when, or if ever, Dead and Buried will be shown 
in your area. 


In last month's issue, an error appeared in the col- 
ors of the Altares blueprints. The stripping on the 
craft is orange, not the color that was printed accid- 
entally. We would also like to point out that the col- 
or photo of the Altares was a recently taken shot of 
the three-foot version that had not yet been refur- 
bished. Our apologies to Martin Bower for the use 
of this photo. 

David Hirsch + 


Missing copies? Moving? Renewals? 
Receiving duplicate issues? Ques- 
tions about your subscription? Write 
directly to: 


P.O. Box 132 
Mt. Morris, 
IL, 61054 


Do not send 
money and order 
to the above ad- 
dress. See 
subscription ad 
elsewhere in 
this issue. 

Subscription inquiries addressed to 
the editorial offices will only delayyour 




8 STARLOG//!//?!? 1982 

Neil Norman and his 
Cosmic Orchestra 


Produced & Arranged by 
Les Baxter & Neil Norman 



"Star Wars/ 

Empire" Suite. 

"Voyage To 

Bottom Of Sea," 

"Twilight Zone." "Time Tunnel," 

"Buck Rogers," "Dr. Who," "Dark Star," 

"Superman" (TV series), "Sinbad and The 

Eye Of The Tiger,". four MORE! 



"Outer Limits," 

Radar from 

"Day The Earth 

Stood Still." 

"Godzilla," "Black Hole," 

"One Step Beyond," "Close Encounters," 

"Star Trek" (TV series), "Moonraker," 

"Space: 1999". . .plus eight MORE! 


The Void," 
"Star Wars," 
"Wild Boys," 
"Re-entry," "Galactic Vortex," "Phaser- 
Laser," "Time Passes Much Too Slowly" . . . 
and three other original compositions. 

'"■■- — - — -1 

Send cash, check or money order to: 

SF Themes 
475 Park Ave. South 
POSTAGE: U.SA-S1.12 each record 

Canada-S2.02 each record 
Foreign-S4.02 each record 

□ Also available on cassette. 
Enclosed: S (records and postage) 

□ NOT OF THIS EARTH... $6.98 
D GREATEST SF HITS, Vol.1... $ 7.98 







idf""'_ ' !,"" ""f 


• Get Anniversary issue • Get free Back issues 
• Get Two Special Bonus issues 
• Get Exclusive Discount Mailings 

Subscribe to STARLOG, the most popular science fiction magazine in our solar 
system, and you will not only save lotsa bucks, you will also get things nobody 
else gets: 

| . The regular cover price of STARLOG is $2.50 each, and if you buy it at the news- 
stand it costs over $30.00 a year. As a subscriber, you pay only $23.99. 

JL% Subscribers also get the annual Anniversary Issue at no extra cost. 

>D. Subscribers get at least 2 special Bonus Issues each year. For example, this 
past year one issue contained a vinyl record, and another included a modular kit, but 
subscribers received these issues mailed right to their homes at no extra cost. 

■#• If you subscribe right away, we'll also send you a valuable STARLOG Back Issue 
(our choice) absolutely FREE! Our gift to you. 

9* During the past year we have sent private offers to subscribers that allow them 
discounts up to 50% on exciting science fiction merchandise. There's no obligation 
to buy, but only subscribers receive these special private mailings. 

The regular subscription savings, the Anniversary Issue, the Bonus Issues, the 
FREE Back Issue, and the private discount mailings— this all adds up to exciting sav- 
ings for all true-blue SF fans. 

So, if you want to keep up with the latest news of SF films and TV— interviews and 
special effects articles— fan happenings and communications— fantastic color 
photos and art— now is the time to join the thousands of other SF fans who are 
hooked on the magazine that takes you on a monthly trip into pure imagina- 
tion— STARLOG. 


STARLOG Magazine, DEPT. S59 
475 Park Ave. South 
New York, NY 10016 

12 issues (one year) $23.99 

Foreign: $32.99 

Total enclosed 






Please allow six to eight weeks for processing before your first issue is mailed. Make 
check or money order payable to O'Quinn Studios, Inc. 


Compiled & Edited by Susan Adamo 



Above: Costa-Gavras has picked Norman Spinrad's (right) Bug Jack Barron as his next Universal project. 

Iniversal Studios has exercised its option 
and bought Norman Spinrad's award 
winning political science-fiction novel, Bug 
Jack Barron, for an estimated $75,000. 
Costa-Gavras, director of the politically con- 
troversial films Z and Missing, chose the 
book as his next project for Universal. Ed- 
ward Lewis, who produced Missing, will pro- 
duce Bug Jack Barron and Harlan Ellison will 
write it. Lewis is also the producer of Warner 
Brothers' /, Robot, for which Ellison has 
written the screenplay. 

According to Ellison, Lewis "likes my 
work and he likes the way I write. And when 
Costa came up with the book, Eddie sug- 
gested me as the writer." Ellison explained 
how he first heard of the project. "Eddie call- 
ed me up and asked me if I'd like to this 
'thing', and I said what 'thing' are you talking 
about. And he said there's this book called 
Bug Jack Barron and I started to laugh. I said 
it was written by one of my best friends and 
I'm very familiar with the book, and I said 
yeah, I think I can do Bug Jack Barron, even 
though I think Norman himself has written a 
script on it." 

Spinrad has indeed written a script for the 
film, but he wrote it seven years ago. The 
book, which was first published in 1969, has, 
according to Spinrad, "been under option 
since about 1971. 1 once tried to produce the 
movie myself, between options. When I was 
out in Los Angeles I got a commitment of 
completion money from Technicolor, be- 
cause they wanted to showcase a new process, 
or whatever. All I had to do was find another 
two million dollars. I had a half a million 
raised — that's as far as I got." 

Universal's buy was an about-face on 
another decision made on the property within 

the last year or so. "The property was op- 
tioned by Gary Weiss, for independent pro- 
duction," Spinrad said. "He's the guy who 
did Holy Moses and those films on Saturday 
Night Live. Then he made a development 
deal with Universal. Weiss made the deal with 
me three years ago, with Universal about a 
year and half ago. He had a script that 
bombed out, it was my understanding. In the 
meantime, Costa-Gavras wanted to do it. So 
they [Universal] bought out Weiss' option for 

Although Spinrad has been trying to get 
the film made for over a decade, he is pleased 
that it wound up in the hands of the creative 
team that has it now. "I think the book is in 
excellent hands, for a number of reasons. It's 
a very political science-fiction novel. Costa- 
Gavras, whose work I'm quite familiar with, 
is the perfect director in that regard. He's a 
politically sophisticated director. Spielberg, 
Lucas and Ridley Scott do science fiction and 
in a way they do it well, but they'd be abso- 
lutely the wrong kind of director for this. And 
Costa-Gavras is the right kind of director." 

Even though he wrote a screenplay him- 
self, Spinrad is pleased that his close friend 
has been tapped for the writing chores. 
"Harlan's a more experienced scriptwriter 
and he's right for this," Spinrad said. "It's a 
political science-fiction novel, with a screen- 
play by a guy who's experienced in science fic- 
tion and in doing this kind of thing. And Har- 
lan in the past has been able to handle the 
racial theme pretty well." (One of the central 
characters of the novel is Lukas Greene, an 
ex-Berkeley radical and currently the first 
black Governor of Mississippi.) 

Not only is Spinrad pleased with the team's 
chemistry, he is delighted with the interna- 

tional connection. "Since this was always a 
bigger book in France than anywhere else, I 
always wanted in some way to have a French 
director do this. Except that it's such an 
American book that it has to be done in 
America. . ..To me it's perfect to have a 
French director doing it in America with an 
American company and an American pro- 
ducer who is also a very politically oriented 
filmmaker, with Harlan writing it." 

Although Spinrad is not legally connected 
with the production, he does hope to have 
some input "into the design end." 

"I've worked out some ideas under an old, 
previous option about what the look should 
be," Spinrad said. "It shouldn't look like 
Spcrce:79PP-Rudi-Gernreich-sterility, nor 
should it look like Flash Gordon. The design- 
er will have a very important role in this film, 
particularly since neither Eddie Lewis nor 
Costra-Gavras have ever done any science- 
fiction films before. It is not going to be a big 
special-effects movie. But what's going to be 
very important is there'll be a lot of incremen- 
tal things to present in near-future terms, so 
that it really looks like it's continuous with the 
present, but is the future. 

"It's going to call for an infinite number of 
subtle, visual touches. And it's going to have 
to be thought out that way. It's also— what 
kind of clothes will people wear. That never 
satisfies me. Not only what kind of designer 
clothes, but what are bums on the street wear- 
ing. What are people wearing when they're 
fixing sewers and stuff like that. That's the 
hardest part. 

"The book was written in the sixties," 
Spinrad explained. "It will be placed some- 
time in the near future from now. In the book 
I've got these videophones and everything, 

10 STARLOC/June 1982 

but 10 years from now you'll probably have 
wrist videophones, or whatever. Perhaps ho- 
lographic stuff. Harlan already has some 
ideas about this, too." 

Ellison confirmed that he has started 
thinking about the book's updating, but his 
thoughts for changes are far more sweeping 
than Spinrad's. The first thing he wants to 
change is the title. "The film will have a dif- 

Ellison: Working with the right team. 

ferent name," Ellison stated. "It'll have to. 
Bug Jack Barron was a perfectly good title 
when the book came out, but it doesn't work 

well in the 1980s It's the kind of title that 

has to be explained to people and it sounds 
like a giant ant movie." 

''Costa's ideas for it are very different and 
my ideas are very different, so we'll be depart- 
ing in a number of significant ways from the 
basic ambience of the book, because the 
book is very much of its own period. Costa- 
Gavras is a major director. His work is highly 
politicized, so what [the film] will be about is 
power— basically, the unbridled and unlim- 
ited power of the multinationals [businesses], 
which in fact run the world. The governments 
of nations no longer run this world. We got 
into Vietnam because of American businesses 
being there, we got into El Salvador because 
of that .... Mr. Reagan feels that the business 
of America is business. This means that the 
multinationals will continue to acquire power 
and the anti-trust actions will be phased out. 

And this power, if coupled with the enor- 
mous influencing power of television, ala 
1984. . . . 

"It's very much a 1984 kind of film," Elli- 
son continued. "It will deal with a lot of 
things that Orwell talked about in his book, 
although the film will probably be set in the 
1990s. The message of the book and the mes- 
sage of the film will be essentially the same, 
which is that not only power corrupts, but 
proximity to power corrupts, and that large 
organizations are like large governments, 
they have a need to perpetuate themselves . . . 
and make subservient the lives of the very 
people they are elected to serve." 

Ellison also expressed pleasure with the 
make up of the creative team. "It's being 
steered by one hell of a captain . Costa-Gavras 
is a significant thinker of our time, and Eddie 
Lewis is a producer who has worked on 
nothing but top quality projects. So I'm 
working with people "who know me, and I 
have a schedule which will put the finish of 
the writing of the screenplay about four 
months down the line [July], and if there are 
no major needs for rewrite, I would imagine 
that they would start getting it into produc- 
tion around the first of the year." 

Although a film is generally not case until a 
finished script is approved, there has already 
been some interesting talk. Said Ellison, "I 
can tell you who already wants to play the 
lead — Jack Nicholson." Ellison has some 
reservations about this, but concludes that 
"He's an intelligent actor, he's a thinking ac- 
tor, and that's what you need on this kind of a 

Spinrad also had some thoughts about the 
casting. "I think Warren Beatty could do it, 
and he's politically sympathetic." Spinrad 
also mentioned Robert De Niro as a possibil- 
ity for the lead role. As to who might play 
Benedict Howards, the novel's villain and 
one of the most powerful and unscrupulous 
men in the world, Spinrad had the following 
comment: "What I'm hoping is that they'll 
be able to get the film out in early 1984 — the 
election year. If they get it out later and Rea- 
gan is defeated, then we have a perfect actor 
for Benedict Howards, and he'll be available. 
I hope we get it out before then, but if not, it 
would be perfect casting." q. 

Director Richard Brooks 
tells cast and crew what's 
wrong and right in an 
artillery-packed scene. 

Connery as global reporter Patrick Hale. 




In a time described as being somewhere be- 
tween now and later, Patrick Hale (Sean 
Connery) is a global reporter for the World 
Television Network. Using the latest satellite 
technology, he can beam live reports from 
anywhere in the world. He is the first of the in- 
ternational news superstars. 

On assignment in the Middle East Hale dis- 
covers that a terrorist named Rafeeq (Henry 
Silva) is planning to buy two atom bombs to 
use against Israel. In a matter of days Hale is 
swept up in the middle of an international con- 
spiracy that threatens the populations of Israel 
and New York City and the political career of 
U.S. President Lockwood (George Grizzard). 

That's the stage for Wrong is Right as set by 
producer/writer/director Richard Brooks in 
his first film since 1977's Looking for Mr. 
Goodbar. Filmed around the world in 1981, 
the movie was kept under wraps until just be- 
fore its April opening. At a summer press con- 
ference, Connery said that only he and Brooks 
had read the complete script. 

Connery describes his role as "part Ernest 
Hemingway and part Barbara Walters. It'snot 
too far into the future; it's a thriller type of 
story and it's a satire. I think is has a terrific 

Brooks says the film expresses his observa- 
tions on the world today. Basing the script on 
Charles McCarry's novel The Better Angels, 
Brooks' film switches from serious political 
concerns on terrorism to poking fun at televi- 
sion news and the Presidential elections. 
Brooks says he is very happy with the perform- 
ances turned in by a cast of veteran actors. 

Katherine Ross makes a cameo appearance 
as a journalist, Robert Conrad is the right-wing 
General Wombat, John Saxon is the CIA ex- 
pert on Rafeeq, and Leslie Nielsen is Mallory, 
a former president making a comeback. $■ 

STARLOG/June 1982 11 



It began in 1979 as an experiment — a non- 
credit course in science fiction at Texas' 
Odessa College. The experiment was not ter- 
ribly successful; those interested found the 
meeting times inconvenient to their sched- 
ules. Then David Carson, a professor at the 
college who designs and produces education- 
al materials, had an idea. Why not do a sci- 
ence fiction show on the college's station? 

Carson drew up a program format and 
Keith Johnson, the college's planetarium di- 
rector at the time, began a search for SF-peo- 
ple to round out the production staff. 

"We quickly acquired Dr. Daryl Lane, 
English professor, Tolkien scholar and all- 
around mean poker player, for the literary as- 
pects of the show," Carson recalls. "Then 
with a little more looking we found David 
Crews — television director, technical person 
and music wizard — for the technical aspects 
of the show." 

When Johnson left "for greener pastures" 
Carson and Lane recruited Dr. William Ver- 
non, a research chemist and collector/reader 
of SF and fantasy, to write scripts. For a year, 
the show was broadcast locally in a 29-minute 

Then Carson and co. struck a deal with a 
syndicator, The Longhorn Radio Network, 
and on April 5, The Science Fiction Radio 
Stow premiered. 

"They asked us to change the format of the 

Left to right: Dr. Daryl Lane, Dr. William Vernon. Standing (l-r): David Carson, David Crews. 

show to five five-minute shows per week in 
order to make the program more palatable 
for commercial radio stations . . . We don't 
know how many stations will be picking up 
our show, but with any luck it should do well 
in most metropolitan areas at first." 

The SFRS will be offering two types of 
programs: interviews with SF authors (in- 
cluding Larry Niven, Jerry Pournelle, Jack 
Williamson, Joan Vinge, Jack Vance, Greg- 
ory Benford), editors and publishers (How- 
ard Zimmerman, Kerry O'Quinn) film pro- 

ducers and such. The second type will explore 
themes including what real science studies are 
being done in extraterrestrial biology; 
whether SF should have its own category in 
literature and when we can expect to meet 
C3POs in the street (Carson's estimate: "Per- 
haps in our grandchildren's grandchildren's 

Stations interested in syndicating SFRS 
should contact Longhorn Radio Network at: 
Communications Building B, University of 
Texas at Austin, Austin, Texas 78712. *}■ 

Producer Gene Roddenberry makes a point to the SUNY- Stony Brook audience 


Cene Roddenberry hit the lecture circuit 
earlier this year and his roster of subjects 
included science fiction, Star Trek: The Ven- 
geance of Khan, future technology and its ef- 
fects on society and the fate of Mr. Spock. 

While the producer def dy dodged any spe- 
cifics regarding the science officer's outcome, 
he did tell attendees of I-Con (a convention 
hosted by the Science Fiction Forum at the 

State University of New York at Stony 
Brook) "Harve Bennett came to me and said 
that he had spoken with Leonard, and from 
what I gathered, Leonard did want the char- 
acter to die." As for the widely spread rumor 
bf alternate endings being filmed, Rodden- 
berry responded that he never saw alternate 
endings; the one he read was the one that was 

Roddenberry had viewed a rough cut of 
the film two weeks prior to the mid-March 
gathering and commented that there was 

much "better use of the Enterprise family. 
Everyone gets more to do." He added that he 
has high hopes for newcomer Kirstie Alley 
(see interview, page 30). 

"I wanted to stay away from the produc- 
tion," Roddenberry said of his limited in- 
volvement in the film. "If I got close, I would 
be tempted to make comments." Rodden- 
berry did make comments, however, through 
memos. These primarily concerned scientific 
and special effects details. 

Others on hand for this well-attended con 
included author Joan D. Vinge and her hus- 
band, editor Jim Frankel, who founded the 
Forum in 1967, authors Jack Dann, Garden- 
er Dozois, Howard Weinstein and Raymond 
E. Galium Timescape editor David Hartwell, 
media writer Allan Asherman and STAR- 
LOG 's Bob Greenberger were also present. 

Two days after the convention, Rodden- 
berry visited the STARLOG offices and dis- 
cussed his current plans and goals. He has 
turned in a pilot script, to.ABC-TV, for a pro- 
posed half-hour weekly series which would 
delve into future technology and its effects on 
humanity. Roddenberry promises the format 
would be "unlike anything seen on televi- 
sion." While his second Star Trek novel 
has been delayed pending discussion with 
Paramount, Roddenberry reports he is eager 
to begin work on another SF novel. . 

12 STARLOC/June 1982 


Fhat did Gimli do to the Ore who 
'jumped on to Balin's tomb? On what 
did Tolkien supposedly write the first line of 
The Hobbif. Translate this piece of dwarfish 
speech: 'Baruk Khazad! Khazad aimenu!' 

If these questions have you scurrying like an 
elf, then maybe you don't know as much 
about J.R.R. Tolkien's works as you thought 
you did. Do not despair. Thanks to Nigel Rob- 
inson and Linda Wilson, anyone can brush up 
on the history of Middle Earth. 

The Tolkien Quiz Book ($3.95), released in 
April by St. Martin's Press, contains over 50 
quizzes which include general questions on 
Tolkien's works and facts of his life, questions 
on particular books, elves, dwarves, languages 
and verses. 

"This book is the fruit of a lenghty corres- 
pondence between the two of us which took 
place during the summer of 1976," the authors 
explain in their introduction, "Both being ad- 
dicted to the books of J.R.R. Tolkien, our let- 
ters developed into an extended game of ques- 
tion and answer based on Tolkien's published 
work. Since then we have built up our collec- 
tion of questions to nearly a thousand and 
these provide the substance of this book." Al- 
so provided is a Bibliography of books the 
authors used during their collaboration. 

For those of you who didn't know the an- 
swers to the questions (tsk, tsk): a) He hewed 
off his legs, b) A blank page on an examination 
script he was marking, c) 'The Axes of the 
Dwarves! The Dwarves are upon you!' ^ 

Coming in 

Conan is Here! As everyone devotes 
their attention to the Universal sword and 
sorcery epic, comics SCENEwill look at the 
comics version incarnation of Robert E. 
Howard's barbarian. We'll be talking with 
Marvel editor Louise Jones and Conan 
scripters Bruce Jones and Michael Fleish- 
er. There will also be art from Marvel's 
comic adaptation of the film along with 
full-color photos frorfi the movie. There's 
also a look at the merchandising of 
everyone's favorite Cimmerian. 

If that isn't enough for you, we've cor- 
ralled Gene Colan for a two-part interview. 
In part one, he tells Don McGregor about 
his early years and we'll be featuring full- 
color reproductions of some of his earliest 
comics work and how he has progressed. 

Crom! If you're still not convinced to buy 
this, then how about the fact we'll be giv- 
ing you the history of Barney Google with 
his Goo-goo-gooley eyes. We have a lot of 
old Bill DeBeck art from the '20s and '30s 
and we'll show you Barney with his prize- 
winning race horse Spark Plug and the in- 
troduction of that wild hillbilly, Snuffy 

Wait, there's even more! Richard and 
Wendy Pini, the creators of the highly ac- 
claimed Elfquest series, provide tips and 
advice on how to start your own publishing 
venture. DCs Todd Klein explains the 
intricacies of lettering comic books and 
Mike Flynn relates the growth of Legion of 
Super-Heroes fandom. And yes, we have 
even more features and goodies crammed 
into this issue, so quick, go out and find a 
copy, NOW! 


Because you 
demanded it 

The first totally professional, full-color, 
newsstand magazine covering even' ex- 
citing facet of the wonderful world of 
comics. ^ ^ 


* Exclusive personal interviews with 
writers, artists, publishers! 

* Behind-the-scenes articles on how 
comics are created! 

* Up-to-date coverage of new projects, 
new titles, new markets and activities! 

* Full-color features all about your 
favorite comics! 

• •• 


The latest news about fandom, anima- 
tion, undergrounds, movie & TV tie-ins, 
alternative presses, vintage comics; and 
a special column by professional comics 
artist Howard Cruse! 

ALL THIS (and more!) 



475 Park Avenue South 
New York, NY 10016 

DEPT. S59 

_6 issues (one year) for $1 1 .98 (U.S. 

_6 issues (one year) for $16 (U.S. 
funds only) Mailed by air to 
Canada & foreign countries. 






Please allow seven to nine weeks processing time 
before your first issue is mailed. Make check or 
money order payable to Comics World Corp. 

STARLOG//«ne J 982 13 


From arcade etiquette to detailed strategies, these books on video gaming will help your quarters last longer. 


Self-help books aren't what they used to 

Instead of offering advice on how to deal 
with your family, friends and superiors, they 
talk about confronting Space Invaders, Pac- 
Man, and Galaxian. 

Creeping up on publishers' schedules and 
bestseller lists the country over is a variety of 
books geared to both novice and professional 
video gamesters. 

These books offer strategies. In his How To 
Master the Video Games (Bantam, $2.25), 
Tom Hirschfeld offers Centipede players this 
advice: "Go after the scorpions only when you 
have a clear shot at them; once a scorpion has 
crossed, be ready for a long centipede to hit a 
poison mushroom and come twisting down. 
Zap it before it gets too far." 

These books offer arcade etiquette. Craig 
Kubey, in his Scoring BIG at Pac-Man 
(Warner Books, $1 .25), tells innocent bystand- 
ers, "As you watch, either say nothing at all or 
speak a few subtle words of praise if the player 
performs well. 'Nice move' suffices even if the 
player has just accomplished the superhuman. 
Anything more — like 'Holy Cow!' or 'How 
did you do thatV — indicates that you yourself 
could not easily replicate the miracle you have 
just witnessed." 

These books offer bylaws. The Winners' 
Bookof Video Games (Warner Books, $5.95), 
also from Kubey, suggests, "Keep your mind 
in mind . . . Use food and drugs properly. Early 
research indicates that drugs more often than 
not speed the death of the player, either on the 
screen or in piloting a non-video vehicle home 
from the arcade. The only two reliable excep- 
tions may be caffeine and sugar, which seem to 
increase reaction speed and improve concen- 
tration in the player who otherwise would feel 
tired. Food seems to help the player who is due 
for a meal: reaction time is reduced and shots 
are fired more rapidly. Pizza with salami and 
extra cheese is especially recommended." 

These books offer us glimpses into the 
future. In Video Invaders (Arco Publishing, 
$11.95 hardcover, $5.95 softbound), Steven 
Bloom gets a prediction from Information In- 

14 starlog//k«<? 1982 

ternational's Richard Taylor, who oversaw de- 
sign and programming of Tron's computer 
graphics. Foresees Taylor, "The games will be- 
come more environmental. You'll literally get 
into the game and drive through the desert — 
rolling over sage-brush, passing cactus. Or 
you'll fly over it, like in an Air Force F-104 sim- 
ulator. There might be four screens lined up 
side by side, surrounding you. And the booths 
will shake, rattle and roll, not to mention talk 
to you. ..." Video Invaders is illustrated by 
Howard Cruse and sports a cover from Mi- 
chael Sullivan. 

These games offer testimonials. Mike, age 
45, Chicago, Illinois (high score: 75,000) tells 
How to Win at Pac-Man (Pocket, $2.25), "I 
try to keep an overall picture of the monsters' 
positions in mind at the same time as concen- 

trating on the area immediately around the 
Pac-Man. This usually gives me a little ad- 
vance warning about where the monsters are 
going. But not always! I could play this game 
all day if I didn't have to eat." 

Other books on the subject include Ken 
Uston's Mastering Pac-Man (NAL/Signet, 
$1.95) and Michael Blanchet's How to Beat 
the Video Games (Simon & Shuster, $3.95). 
Upcoming in June are Dell's The Player's 
Strategy Guide to Atari VCS Home Video 
and Jeff Rovin's The Complete Guide To 
Conquering Video Games (MacMillan, 

You can solve Rubik's in under a minute, 
you're the neatest preppy on your block and, 
finally, there's just no excuse anymore for be- 
ing a videogames dropout. 3}. 

Above: Weinstein feasts his eyes on Harryhausen's (right) work at the animator's home. 




This spring marks the tenth anniversary on 
The Ray Harry hausen Fan Club. Found- 
ed in 1974 by Bob Weinstein, the club has gar- 
nered some 226 members worldwide. 

"I first became interested in Ray Harryhau- 
sen's work after seeing The 7th Voyage of Sin- 
bad," Weinstein recalls. "A friend of mine, 
Todd Share, invited me over to his house one 
Saturday afternoon to see the movie with him. 
Ever since that moment, my interest in Ray's 

work grew and a few weeks after seeing 7th 
Voyage, I formed a fan club for him." 

In 1980 one of Weinstein's childhood 
dreams came true — he met the history-mak- 
ing, stop-motion animator— in Harryhausen's 
own home, no less. "The feeling was some- 
thing like entering a Wizard's cave and not 
knowing what hit you first," Weinstein 

STARLOGGERS interested in finding out 
more about membership in the club can con- 
tact Weinstein c/o Ray Harryhausen Fan 
Club, 5776 Hudson Ave., Cote St. Luc, Que. 
Canada, H4W2K6. 

(continued on page 26) 



A Revolution in Fantasy Filmmaking 

It's a Walt Disney film and nothing like 
it has ever been seen before. The film is 
called Tron and has been described by 
Disney officials as an electronic science fic- 
tion fantasy set in a futuristic electronic world 
inspired in part by the current mania for video 

Tron is the story of a young computer 
genius who, in trying to short circuit a run- 
away program in a vast, computerized infor- 
mation system, is drawn into another world, 
a universe of electricity and light which paral- 
lels the real world. Tron's electronic world is 
being created at the Disney Studios by com- 
bining live action footage with state-of-the- 
art techniques in lighting and computer 
graphics. Characters are set in landscapes 
that could not physically exist in the real 
world. The film's computerized effects are 
being designed by Information International 
Inc. of Los Angeles and Magi Inc. of New 
York. Digital Effects in New York is also sup- 
plying some computer effects for the film. 

Advance glimpses by STARLOG staffers at 
a few scenes of the film as it nears completion 
suggest that this story about a micro civiliza- 
tion existing within the circuitry of a compu- 
ter has the potential to equal Fantasia as a 
milestone in futuristic filmmaking. 

Tron is the brainchild of writer/director 
Steven Lisberger. He and producer Donald 
Kushner brought the project to Walt Disney 
in June 1980, after spending two years re- 
searching the computer and optical effects 
technology needed to bring the story to life. 

Lisberger makes his feature directorial debut 
with this film. 

Futuristic industrial designer Syd Mead, 
French comic artist Jean "Moebius" Giraud 
and high-tech commercial artist Peter Lloyd 
served as special visual consultants. Harrison 
Ellenshaw is associate producer. Special ef- 
fects are supervised by Ellenshaw and 
Richard Taylor. Bruce Logan is director of 
photography. The film is being shot in 
65mm, a first for Disney live action feature 

Tron will be released in July of this year 
and will be the first motion picture to make 
such extensive use of computer graphics. 
Computer-generated landscapes, buildings 
and vehicles provide settings for live-action 
characters in the film's electronic world. 

Bally Manufacturing, the nation's largest 
maker of video arcade games, is creating a 
Tron video game. The game will be in Bally's 
240 Alladin's Castle arcades across the 
United States and in theaters exhibiting Tron 
one month prior to the film's release. * 

Above: Artist Syd Mead sets the style tor these computer-generated lightcycles racing on a 
futuristic landscape. Below: Bruce Boxleitner in his lightcycle cockpit stars as a rebellious video 
warrior in a computer world controlled by a despotic master control program in Tron. 

STARLOG/June 1982 15 

• ' ' 


Being a Barbarian is never easy. . .just ask the cast and crew of John 

Milius' new sword and sorcery film. Between re-writes, cracked ribs and 

martial arts classes, they just might find the time to answer. 

Conan, the massive, muscular warrior, 
slips into the shadowy tower chamber, 
determined to steal the precious Eye 
of Set. From out of the darkness, a 50 foot 
serpent appears, taking the Cimmerian bar- 
barian by surprise. Actor Arnold Schwarze- 
negger, portraying the mythical warlord, 
grabs the serpent. The movie technicians 
operating the hydraulic beast do their best to 
give the reptile the upper hand. 

Without warning, the creature rears back. 
Schwarzenegger, flailing at it with his knife, is 
lifted high into the air; a look of total 
stupification on his face. 

The camera keeps rolling. 

"I -didn't expect that move," Schwarze- 
negger cracks, recalling just one of the 
strange events that took place during the film- 
ing of director John Milius' new sword and 
sorcery spectacle, Conan the Barbarian. 
"They'd throw in these little surprises every 
so often, just to get a reaction from me on 
camera. I reacted. . .very well." 

Conan the Barbarian is almost certain to 
garner a favorable reaction from audiences 
worldwide. It's a hard-nosed adventure story 
that is one part muscle, one part madness and 
one part heart. 

When the $19 million film was unveiled at a 
sneak preview last February in Las Vegas, 
unexpected crowds flocked to the theater, 
forcing the management to add three addi- 
tional showings. Not too bad for a film that 
has been plagued by production problems for 
nearly six years. 

The finished Conan the Barbarian is a 
tribute to the directorial skills of John Milius, 
the blind faith of Schwarzenegger and the 
dedication of a cast and crew that labored 
long and hard at the task of bringing an over- 
powering pulp hero to the screen in an ab- 
sorbing yet properly larger-than-life manner. 

Along with Schwarzenegger, the cast in- 
cludes James Earl Jones as the villainous 
Thulsa Doom, Max Von Sydow as King 
Osric, Sandahl Bergman as the voluptuous 
Valeria, Gerry Lopez as wiley Subotai the 
thief, Valerie Quenessen as the princess of 
Shadizar, William Smith as the elder Conan 
and former Oakland Raider Ben Davidson as 
Doom's chief henchman Rexor. 


For the first time in Hollywood history, 
writer Robert E. Howard's ancient, mythical 
world lives on the screen. The otherworldly 
Cimmerian civilizations have been visualized 
by production designer Ron Cobb. The 
special effects have been concocted by Nick 
Allder and the story, sort of a hybrid of 
various Howard legends, was penned by both 
Milius and Oliver Stone (Midnight Express, 
The Hand). 

The movie is set in the dark times of pre- 
history. Young Conan is traumatized while 

still a child, witnessing the brutal slaying of 
his parents by the forces of Doom, head of 
the evil Snake Cult. 

The frightened boy is forced into slavery 
where he grows into maturity, trained to be a 
master pit fighter — a warrior who is part 
gladiator, part swordsman, part animal. 

Freed from his captors through a twist of 
fate, Conan has but one goal in life. . .to 
avenge his parents' deaths and bring ruin to 
the dreaded Thulsa Doom. 

His journey to victory is long and hard . . . 

Opposite: Arnold Schwarzenegger as Conan. Above, Conan must defend himself against a giant snake 
in the Tower of the Serpent. 

STARLOG/7«ne 1982 17 

Above: Thulsa Doom's Mountain of Power and James Earl Jones, inset, as Doom. Below: Nailed to 
the Tree of Woe, Conan must fend off vultures while waiting for help. 

yet it seems a quick and easy jaunt when com- 
pared to the struggle various creative teams 
had to endure in order to bring Conan's life to 
the silver screen. 

Conan the Concept 

"I first walked into executive producer Ed 
Pressman's office about all this back in 
1976," says associate producer Ed Summer. 
"He asked me to write a screenplay for a film 
based on Robert E. Howard's hero, Conan. 
At that time, the budget for the movie was 
%2Vi million. I thought that Conan would be 
a great project to work on. A lot of fun. We 
didn't know back then what a morass we 
were stepping into. 

"To begin with, once we started 
negotiating for the rights to Conan, we 
discovered that there were countless legal 
hurdles to clear. Robert E. Howard had, of 
course, died in the 1930s * leaving behind a 
jumble of stories, outlines and fragments. L. 
Sprague de Camp and Lin Carter and a 
number of other people had also written a 
number of Conan stories. 

"The Howard stories which had been writ- 
ten for Weird Tales had been handed on to 
the companies who succeeded Weird Tales. 
The other stories belonged to other people. It 
was 'split ends' time when it came to getting 
everything straightened out. It took us two 
years to get all the pieces in place and get the 
clearances we needed to do the story. 

"I wrote an initial screenplay. At the time I 
wrote it, we were legally constrained from us- 
ing parts of any of the original stories. I wrote 
a tale that takes place, chronologically, after 
this movie. It wasn't my personal inclination 
to do so but I had no choice. Right now, by 
the way, there's some talk of it being used for 
the first sequel." 

(As of this writing, Arnold Schwarzeneg- 
ger says he's fully expecting a Conan II. "I've 
been signed to do five Conan movies," he 

With Summer's script in hand, executive 
producer Pressman began working on the 
more practical sides of the film. "Getting Ar- 
nold involved was one of the least problem- 
atic aspects back then," says Summer. "He 
recognized the potential right away and has 
always been wonderfully cooperative. He 
had to stick with this project for AVi years 
before the film even got near production." 

Schwarzenegger, who signed a contract 
with Pressman which forbade him to do any 
other film roles during this waiting period, is 
quite philosophical about it all. "I felt that I 
was born to play Conan," he says. "Ed 
Pressman gave me the Conan books and 
magazines and I read them all. As soon as I'd 
finished I realized that Conan is the closest to 
what I can really play well in movies ... a very 
physical yet sympathetic role. Someone 
whose spirit is as solid as his body." 

"Howard, who committed suicide in 1936, 
published 17 Conan stories between the years of 
1932-36 in Weird Tales. Four posthumous stories 
appeared in other magazines. Howard's unfinished 
Conan adventures were, of course, later 
"finished" by other authors. 

Even though a script was completed and a 
star was committed, Conan the Barbarian 
proved an elusive fellow to tie down to a film 
deal. "I wrote my script for John Milius to 
direct," reflects Summer. "I wanted him in- 
volved from the beginning. I'm a big fan of 
his action adventure films. (Milius co-wrote 
Dirty Harry, Magnum Force and Apocalypse 
Now and directed Big Wednesday and The 
Wind and the Lion) 

"The Wind and the Lion is a wonderful, 
old-fashioned adventure. I can't get enough 
of that film. But, at the time, John was em- 
broiled in Big Wednesday and had different 
practical problems in his life as a result. So, 
we ended up talking to many directors." 

Eventually, it was decided to scrap Sum- 
mer's screenplay and go with a second by 
another writer. Pressman contacted Oliver 
Stone (Midnight Express, The Hand) and 
asked him to take a stab. Stone agreed. "His 
screenplay started at the beginning of the 
Conan legend," says Summer. "By the 
book. By the time Oliver was involved, we 
had cleared up a number of copyright prob- 
lems. Because of the success of Midnight Ex- 
press, Paramount pictures was willing to 
come up with money for a Stone screenplay. 
Oliver's finished work was very ambitious. It 
has a great number of battle scenes. It would 
have been a very expensive film to make. It 
was subsequently scaled down a bit." 

During the Stone age, artist Ron Cobb was 
hired to do a few pre-production renderings. 
Cobb was coming into his own as a fantasy 
film designer following his work on Star 
Wars and ALIEN and did a few paintings for 
the embryonic Cimmerian project that as- 
tounded all concerned. "His stuff was 
wonderful!" Summer states. "Genius! I had 
only been familiar with his editorial cartoon 
work but this was magnificent." 

Despite the fact that Pressman and com- 
pany now had a script by an Oscar winner, 
brilliant artwork and the world's best known 
body builder in the title role, Hollywood was 
unimpressed. "We went from studio to 
studio," says Summer. "People were either 
enthralled or appalled. Not much 

Even with most of the majors turning 
thumbs down on the project, spirits were high 
in the Conan camp. Schwarzenegger was 
rigorously training for his role. Pressman was 
touting the movie as a totally unique adven- 
ture. Summer was doggedly whipping the 
business end of things into shape. Then, in a 
stroke of serendipity, Milius, who had re- 
mained interested in the project all along, 
entered the picture. 

"John was under contract to the 
DeLaurentiis company to make a mountain 
man adventure, Half of the Sky," begins 
Summer. "Ron Cobb was doing design work 
for him. I went to see Ron in Milius' office to 
see if I could talk to him about doing some ad- 
ditional Conan stuff. We talked but Cobb 
was committed to Half of the Sky. Milius was 
out of the office at the time, so Ron and I 
wound up chatting a bit. By the time I got 
back to my office, Ron had called. 'John 
found out you were here and is really in- 

Getting on the camel was a ' 'first" for Schwarzenegger and Conan. He's disguised as a follower 
of Set to get close to Thulsa Doom. 

terested in ConanV 

"Within three days, John had signed to 
direct the movie. Half of the Sky was 
dropped. Now, Warners was interested in 
Half of the Skybutnot'm Conan. DeLauren- 
tiis, on the other hand, was perfectly happy to 
substitute Conan for the mountain man pic- 
ture in terms of Milius' deal. Dino had a good 
relationship with Universal so, part of the 
financing came from Universal and part from 
the folks at 20th Century-Fox, who picked up 
the film overseas. 

"Milius did a major re-write of the story in- 
volving, among other things, bringing it 
down to a $19 million budget. 

"The final film is based on the last of a 
series of screenplays he wrote. He started us- 
ing the arrangement of material that Oliver 
had set up but wound up departing pretty 
radically. One of the major contributions 
Milius made was creating Conan's childhood 
and adolescence for the screen. We now see 
how Conan went from being a frightened lit- 
tle kid to a soldier, a mercenary, a thief, a 
warrior and, finally, a king. It's something 
that Howard never wrote. 

"Thulsa Doom, who first appeared in 
Oliver's story, was expanded upon in Milius'. 
Actually, the original character appears in 
Howard's King Kull series, not Conan. He's a 
wizard with the gift of illusion and invisibility 
and has power over serpents. 

"John's screenplay is interesting because 
it's a hybrid of Howardisms. There are many 
kinds of Conan stories. There are stories 
where Conan is a buckeneer, straight-on 
Robert Lewis Stevenson-esque pirate stories. 
There are stories where magicians are in- 
tegrally involved and the resulting force of 
magic is important. There are stories that 
have strong fantasy elements . . . you know, 
where 30 foot frogs chase princesses around. 
There are stories that are on a sheer battle 

"My own personal preference is for the 
magic stories. My screenplay used a lot of 
special effects. Milius doesn't like to rely on 
special effects. He likes to write realistic 

stories. He's very much an historian. He once 
told me that if he hadn't been a filmmaker he 
would have been a history teacher. I was a lit- 
tle skeptical about his realistic approach until 
I saw his screenplay. It was incredibly involv- 
ing. There was no way this picture was not go- 
ing to be great." 

Even with all systems go, Conan showed a 
remarkable sense of lethargy when it came to 
leaping before the cameras. "I started train- 
ing for this movie in 1978," says Schwarze- 
negger. "At that time, I thought we'd start 
filming in January of 1979. There were pro- 
blems with locations and the date was 
postponed. I slowed my training down. 
Then, I started working harder when we 
learned that the film was due to start in 
January of 1980. There was another delay. I 
slowed down again. Finally, we received 
word that we were going to begin in Decem- 
ber of 1980, so I started up once again." 

Part of the pre-production problems stem- 
med from the fact that the filmmakers had 
difficulty finding a country that was either 
visually or economically suited for Conan's 
adventures. "Initially," says Summer, 
"everyone agreed on Yugoslavia. Ron even 
did some designs based on locations he 
scouted. But, then, Tito died and the political 
situation didn't look too good. The team 
wound up scouting Canada before finally 
deciding on Spain: a country that John had 
worked in before on The Wind and the 

On January 1, 1981, filming began in 
Spain, just outside of Madrid. In one of the 
first scenes, a pack of dogs was supposed to 
chase actor Schwarzenegger up a cliff and 
corner him on a ledge. The dogs were released 
too quickly, however. 

"One of them hit me too soon, ' ' smiles the 
affable actor. "It caught me off guard and I 
went right over the ledge. I fell 10 feet and 
landed on my back. I was covered with 
scratches and bruises. It was probably a pret- 
ty good beginning for this movie, though. It 
set the tone for the whole time we were there. 
This was going to be fun. . . but dangerous." 

STARLOG/7«ne 1982 19 

Schwarzenegger and director John Milius prepare 
(or a scene. 

"Cbnan" the Challenge 

Before the cameras could start rolling in 
Spain, a great deal of mind-numbing (and 
body-bruising) planning had to go into 
mounting Conan the motion picture. Even 
with a budget of $19 million, the opulent pro- 
duction was cutting it close financially. How 
do you create a mythical world on a budget? 

"Very carefully," says Summer. "I 
suspect that we couldn't have done this movie 
in any other country but Spain for this 
money. An amazing amount of attention was 
paid to detail. 

"Ron Cobb worked wonders in designing 
the sets. He used natural formations as the 
basis of his sets as much as possible. There 
were some sets that were built into a niche in a 
rock. On the wolf witch set, he used a bizarre 
stone formation to great advantage. The 
mound set was built near the ocean to make 
use of some incredible sand dunes. When you 
see the finished film, you get the impression 
that you're seeing massive expanses but, real- 
ly , it's just Ron being clever. He had to build a 
hell of a lot but it was really minimal com- 
pared to what he would have gone through if 
he had to construct everything from 

For Ron Cobb, this was a first: his premier 
effort as a production designer. To this day, 
he can't sort out his feelings about the film. 
He is ecstatic, yes, but he can't quite figure 
out whether the dizzying atmosphere on the 
Conan locations stemmed from the helter- 
skelter history of the project itself or from his 
own sense of wonder-cum-naivite. 

' ' I really didn' t know what to expect, ' ' says 
the easy-going designer. "All this was very 
hew to me. On the one hand, while we were in 
Spain and some of all this seemed very dif- 
ficult and even boring at times, I was wonder- 
ing if I'd stepped into something too big to 
handle. Then someone would walk up to me 
and say Tf you think this is rough. . .you 
should have worked on RedsV Eventually, I 
got into the rhythm of things. It was very 
chaotic at times but, ultimately, very 
fascinating. There was a lot of creative ten- 
sion on this project but that turned out to be a 
big plus. 

20 SIARLOG/June 1982 

"Basically, I took this assignment because 
John Milius asked me to. We're very good 
friends. We respect each other's work and 
value each other highly. We had the same 
view of this movie, visually, so I was left on 
my own, out of the production chaos, with 
some very creative people to work with. 

' 'There were times when the budget had me 
stymied, I'll admit. But, I suppose you go 
through that with every movie. I had to learn 
when I couldn't afford to put another lamp 
here or another pillar there. 

' 'A lot of the film's visual clout stems from 
the fact that John came up with a terrific 
screenplay. He had a lot of amazing ideas and 
wonderful concepts. Conan's script has a ter- 
rific mood to it. I just plugged into that. 

"I'm not a big Conan fan. I've never 
followed the stories and I'm not overly 
enamoured with the philosophy involved. 
I'm not into all that rugged individualism 
overcoming all odds stuff but John is. What 
excited me about this was the prospect of 
creating an imaginary, ancient world. I could 
draw on my interests in science, history and 

"I knew the budgetary limitations at the 
outset and considered that part of the 
challenge. When I had to, I'd run around and 
take money from one set to put into another. 
Things went pretty smoothly. The only dif- 
ficulties came about when the sets took longer 
to build than we had planned. 

"We got into a little trouble in the Orgy 
Chamber," Cobb dead-pans. "There was a 
lot of hand sculpting involved; decorative 
scrolls, strange bannisters, twisted columns 
with odd geometry. There was no way we 
could cast this stuff. It got nerve-wracking 
towards deadline time but we managed to 
finish on schedule. It paid off, visually. 

"I never really thought we'd screw 
anything up but, sometimes, I did get a bit ap- 
prehensive about how the sets would look on 
the screen. I'd never done this before and 
there was always the temptation of rushing 
things just to get them finished in time. We 
were all pretty stubborn, though. We never 

sacrificed quality because of time. When we 
had to rush, I'd skip a few extra details I had 
in mind. You know, add some extra polish to 
the simulated marble. That sort of stuff. 

"I learned a lot from this movie. When you 
design a set you have to remember one thing. 
The set has only one function: to carry out a 
portion of the screenplay. The appearance of 
the set may lead you to believe that it has a 
variety of functions but it's only there to but- 
tress the story. You design it keeping in mind 
that there's a duel here, or four people climb- 
ing over a wall there. 

"And that!" he laughs, "could be 
challenging. We used these large industrial 
buildings outside Madrid as sound stages. 
You'd have to start your set off by taking into 
account the dimensions of the factory walls 
and then figure out how much floor space 
you'd need for the action. Things got a little 
cramped sometimes but we pulled it off." 

Cobb's only major problem occurred 
towards the end of the shoot when he was 
called upon to construct the film's temple on 
the mountain set. "It was one of the last sets 
to be built and one of the last sets to be 
filmed," he recounts. "We needed about 
three months for construction and our 
schedule was getting tight. Four days before 
the set was to be filmed, John came up and 
saw it. He was horrified. Because we hadn't 
aged the blue tiles' undercoat inside the tem- 
ple, he thought the whole thing was too gar- 
rish. He wanted a major repainting. I was 
convinced that if we could finish it the way I 
wanted to finish it, it would all turn out fine. 
So, we had a big shouting match and both 
wound up compromising. We aged the tiles 
down pretty effectively but kept the original 
color scheme. 

"I thought that the temple on the moun- 
tain should have the garrish color designs I'd 
seen in Asian temples. I wanted to capture 
that outrageous religious look for Conan. I 
wanted white marble, blue tiles, gold and 
polished wood surfaces. I'm lucky we man- 
aged to finish it in time. The set could have 
been a disaster." 

Inside Doom's temple, a camoflauged Conan finally gets to show off his prowess. 

While the crew attempted to create an an- 
cient world effectively in Spain, the cast at- 
tempted to become ancient citizens in an 
equally realistic manner. 

Remembers Sandahl Bergman, "We spent 
months and months training before we film- 
ed. Arnold, Gerry and I learned the martial 
art of kendo. Another teacher taught us the 
ways of beshudo, which is the technical 
handling of the sword. We were taught the 
meaning behind our every move. We prac- 
ticed two or three hours three days a week on 
that alone." 

For Bergman, a leggy dancer best known 
for her Broadway roles in A Chorus Line and 
Dancin' and the film All That Jazz, Conan 
represented a veritable pentathalon of rigors. 
"It was a must to master these techniques . . . 
especially for me. You'd think my being a 
dancer would be to my advantage but, in a 
sense, I had to forget my training. John was 
really hard on me because he didn't want au- 
diences to see some dumb girl oh the screen 
waving a sword gracefully in the air like a 

"John is an authenticity nut, probably 
because he's such a history buff, an expert on 
warfare. I had to learn how to take sword hits 
and move my body realistically. In a sense, I 
had to work through my fluidity. I couldn't 
get up on the screen and look like a cute 
dancer who would do a cute spin and kill a 
guy. Arnold, Gerry and I all learned different 
styles of movement that would correspond to 
our tribe. I'm more fluid than Arnold, more 
feline. Arnold is 'I'm going to kill this guy. 
Period.' We had to choreograph the fight 
scenes very meticulously and, then, find a 
way to do them so the finished battle 
wouldn't look planned. It wasn't easy." 

Schwarzenegger, who cut his weight from 
250 to 228 for the film, echoes Sandahl's sen- 
timents. "For this film, I had to go through 
various types of training. I did four or five 
miles of running every day. I trained with a 
sword every day for two hours. I went to ken- 
do classes, acting classes, yoga classes, voice 
training. I did stretching exercises. 

"Then, after all this, we had drill sessions 
with John. He took us through some really 
heavy physical sessions. We called him the 
dog trainer. Guess who was the dogs? By the 
time we did the movie, after going through all 
this, we were all so ready that making the 
movie seemed almost easy. Almost. 

"When we finally shot the movie we did 
most of our own battle stunts using real 
swords. We all had our share of injuries." 

Bergman was hit with a sword and had a 
finger cut to the bone. "John came up to me 
and said 'You won't let that happen again 
now, will you?' So much for sympathy." she 

"Making this film was downright strange 
at times. We all had stunt doubles but we real- 
ly didn't use them. My double did one stunt 
for me. . .running down a cliff onto some 
rocks and jumping onto a horse. 

"Every day a stunt trainer took us out in 
the freezing cold for three weeks straight to 
teach us how to ride well. There's a lot of 
fighting done on horseback so you have to 

During his slave days, Conan became the most-celebrated Pit Fighter of his time. 

know what you're doing. Since I'd never been 
on a horse before in my life, I suppose you 
could say that it was quite an experience. 

"After a while, I could see why John in- 
sisted on Gerry, Sandahl and Arnold instead 
of superstars for this movie. He wanted peo- 
ple without egos. We had to go through freez- 
ing cold, incredible heat and physical rigors 
that people on a star trip wouldn't have been 
able to handle. We were all new and were will- 
ing to work our asses off. After a while, I 
found little ways to get around the hardships. 
When it was freezing, I'd think about the 
Bahamas. It worked. . . every so often." 

Everyone involved in the battle scenes got 
their share of knocks. . .including 
Schwarzenegger. "I had to do hours and 
hours of horseback riding, fight with 50 
pounds of armor on, drop down 40 feet from 
a tower and climb ropes," he says. "I had a 
lot of unexpected injuries. 

"I was attacked by dogs, I tore a ligament 
falling off a horse. I had my neck sliced by an 
axe handle. I jumped into a lake and smashed 
my head open on a rock. I was thrown off a 

"When things like that happen, it's good 
to be around a person like John. He says 
things like 'The pain is temporary. The film is 
permanent.' So, what it boils down to is a 
choice between pain and a great scene. When 
you think about things in those terms, you 
just can't make but one choice .~You wind up 
'willing' the pain away. 

"I was really lucky compared to some of 
the stuntmen, the extras in the battle scenes. 

They were run over by horses, kicked in the 
head, tossed onto their heads during sword 
fights. Quite a few of them wound up in the 

"None of the actors minded risking injury, 
though, because of John. He made Conan 
the best working experience that I hever had. 
John and I are alike in many ways. He had a 
vision about this movie. I also have that type 
of vision. When I teach my body building 
seminars, I tell people that you must have a 
very clear vision of something in order to at- 
tain it, to make it a reality. People without 
this type of vision wind up drifting around 
aimlessly. John knew exactly what he wanted 
and we were there to see that it was ac- 

"He motivated us. He cajoled us into do- 
ing things that, normally, we would have said 
'no' to. He always did the stunts before I did 
as a demonstration of what he wanted. He 
fought. He jumped. He wrestled with the 
snake. Half of the time he was directing, he 
was filthy. 

"He minimalized the dangers through his 
attitude. Everything was matter-of-fact with 
him. When you got onto the set, he'd say 'I 
want you to ride this camel. Get on.' 

"He gave orders like a general. It wasn't a 
case of "Gee, Arnold, do you think you 
could ride this camel?' Or, 'Arnold be 
careful, these camels can bite you.' It was 
'OK. Get on the camel. This is the first time 
Conan's been on a camel. It's the first time 
you've been on a camel. Whatever happens, 

(continued on page 65) 

STARLOG//Kne 1982 21 


Cat People 


Director Paul Schrader's new fantasy-thriller may indeed be the cat's 

pajamas but the filmmaker was determined to steer it clear of the 

fantasy filmgoing crowd via a news blackout. Here, Schrader explains 

just why and how the cat got his tongue. 

When filmmakers dabble with 
cinematic fantasy or science fic- 
tion, they generally try to tease 
that film genre's audience in advance of their 
movie's release date in order to insure good 
box office. Plot elements or special effects se- 
quences will find their way into print in 
publications devoted to the fantasy film 

A production like Quest for Fire, for in- 
stance, had no qualms about baiting au- 
diences months prior to its release with tan- 
talizing tales of exotic languages concocted 
just for the movie. An American Werewolf in 
London aroused quite a bit of curiosity by 
publicly stating that it would never reveal its 
makeup secrets . . . even as details of the 
magical transformations featured in the film 
filtered into various magazines and 

Filmmaker Paul Schrader, on the other 
hand, decided to go the opposite route with 
his new film, The Cat People. Prior to the 
release of the film there were to be no leaks, 
no rumors, no interviews. 

In fact, Schrader went so far as to avoid 
contact with any and all magazines devoted to 
the fantasy/science fiction film realm before 
The Cat People crept into theaters across the 

Why spurn the fantasy film crowd, one of 
the largest movie audiences in the country? 
Several weeks before The Cat People was to 
be nationally distributed, Schrader and the 
film's executive producer, Jerry Bruckheimer, 
finally agreed to clear the air. 

"We didn't want to court the horror movie 
crowd," explains Schrader, "because The 
Cat People is not a horror movie. It's an 
erotic fantasy. One of the reasons I've avoid- 
ed doing interviews with publications that 
specialize in that genre is to avoid being 

22 STARLOG/7wne 1982 


"Simply by being on the cover of a 
magazine like Cinefantastique before the 
release of the movie puts an idea in the mind 
of any moviegoer who walks past a news- 
stand and spots that magazine. He considers 
The Cat People a genre film immediately. I 
don't want that identification. 

"I don't want people to consider this a hor- 
ror or a special effects film. Not only would 
that be a false impression but it would link the 
movie to a genre that is dying out. The Beast 
Within (a commercial dud) proved that. Not 
only am I not of that genre, but I wouldn't 
want to be identified as being of that genre 
even if I was!" 

Director Schrader: Alternately praised and 
damned for his cinematic viewpoint. 

Schrader's statements may initially sound 
harsh but if one examines the history of both 
his film and his career, a subtle strain of logic 

During the past three years or so, Schrader 
has written and directed three controversial 
films: Blue Collar, Hardcore and American 
Gigilo. Prior to that, he was best known as 
the author of the film Taxi Driver. Schrader 
was typed as a filmmaker who spotlighted the 
underside of American culture. Alternately 
praised and damned for his cinematic view- 
point, he became just as notorious as his films 
to many critics. 

When The Cat People project came along, 
Schrader was given a chance to prove to 
moviegoers that he was capable of broaden- 
ing his celluloid horizons, of going beyond 
what most people considered his thematic 
limitations. In order to make the film work in 
this way, however, he had to remove it from 
the same category as productions like Friday 
the 13th or The Howling. It couldn't be just 
another horror movie. 

Actually, from the outset the re-make was 
supposed to be new and different. Producer 
Charles Fries, in the mid-1970s, was the first 
to get the idea of updating the 1942 RKO 
classic. The first film, directed by Jacques 
Tournier and produced by Val Lewton, is 
considered a low-budgeted classic and Fries 
saw it as a perfect way to break into big screen 

Fries, best known for such TV fare as The 
Martian Chronicles and The Amazing Spider 
Man, took the idea to Universal. There, 
studio production executive Marianne 
Moloney commissioned writer Alan Ormsby 
to do a new story. The locale of the tale was 
switched from the original movie's New York 
base to New Orleans and the story itself was 
given more overtly horrific overtones. At this 
point, Schrader saw the script. He was in- 

Malcolm McDowell on the set (above) and, 
right, assuming his place among The Cat 

trigued and worked with Ormsby on a 
modified plot. 

In the new film, the accent is on the 
nightmarish encounter between New Orleans 
zookeeper John Heard and a brother-sister 
team that is, literally, the cat's meow. 
Nastassia Kinski and Malcolm McDowell 
were soon hired to play the feline folk. 

Schrader then pulled together a creative 
team of visual consultant Ferdinando Scar- 
fiotti, cinematographer John Bailey and ex- 
ecutive producer Bruckheimer, all veterans of 
American Gigilo. 

Old "Cat" vs New 

Production began on April 6, 1981, on the 
sound stages of Universal in Hollywood. In- 
terior sets of both Heard's and McDowell's 
homes were constructed. Two additional, 
larger, sets were built to simulate both the 
animal cages of the New Orleans zoo and the 
administration buildings. Additional 
shooting was done on location in New- 
Orleans. Principal photography was com- 
pleted on June 10, 1981. Shortly thereafter, 
Schrader decided to clamp a lid on his project 
in terms of publicity. 

"We did our best not to emphasize this as a 
horror film," says Bruckheimer. "It's a fan- 
tasy with all sorts of elements involved. 
There's very little similarity between our 
movie and the original Cat People. 

"We have new characters and a new story. 
What we've done is gone back to the first film 
and taken the original Cat People legend out 
of that plotline. We've expanded it, showing 
what the first film only spoke about. 

"What we've retained from the first movie 
is the constant threat of the unseen, a 
brooding sense of claustrophobia. There's a 
strong sense of menace in this movie. But we 
start off establishing its fantasy elements 
before we get involved with the thriller 
aspects. The original legend describes how 
certain humans change into large panthers 
during certain periods of time. We show that 
happening to two modern descendents of 
that cursed people." 

Despite The Cat People's creators' at- 
tempts to downplay the movie's genre con- 
nections, it was exactly that angle that began 
to find its way into print most. Blurbs and ar- 
ticles were written on Al Whitlock's effects, 
on the Burman Studios' change-o-head 
transformation makeups and on a full-sized 
phoney panther that was constructed for 
close-up shots. This somewhat disconcerted 
the Cat People crowd. 

"There's very little transformation stuff in 
this picture," continues Bruckheimer. "It's 
more of a sexual fantasy. Our transforma- 
tions are not as elaborate as some of the 
makeups in recent films. Our emphasis isn't 
on the transformations. We've left the shape- 
changing mostly to the imagination of the au- 
dience. Of course, we're a lot more graphic 
than the original Cat People because you 
simply cannot be that sedate anymore. But 
we're not totally overt, either. 

"We really didn't want to emphasize this 
as a horror movie because we didn't want to 
disappoint a horror film audience. Our movie 

is just not that kind of film. In a sense, I think 
we've run into the same problems that the 
original production had. 

"The Cat People was considered a horror 
movie in its time, 1942, but, looking back on 
it, I don't think you can affix a horror label to 
it anymore. At least, not by today's stan- 
dards. Look at some of the contemporary 
horror films out today like Friday the 13th. 
How can you compare the original The Cat 
People to a film like that?" 

When it became apparent to all involved, 
however, that the new Cat People stood a 
good chance of being lumped into the horror 
genre via advance word of mouth, director 
Schrader decided to avoid the fantasy film 
magazines altogether. 

"One of the reasons I haven't been giving 
interviews about this film," he explains, "is 
that the few interviews I have given have con- 
sisted of me saying what the movie isn't. It 
isn't a re-make. It isn't a horror movie. It isn't 
an effects film. It isn't an exploitation film. I 
decided to wait until the film opened to talk 
so that people could see the movie before they 
tried to discuss it with me. 

"Cinefantastique wanted to run a cover 
story on the film before it opened. I wouldn't 
consent to that. After the film is out, fine. 
But before its release, that kind of coverage 
would only hurt." 

Journalists Scramble 

As a result of Schrader's secretiveness, 
however, some genre journalist were forced 
to go scrambling for information. "People 
wound up talking to the special effects peo- 
ple," Schrader remarks, half-amused, half- 
perturbed. "They all got the wrong impres- 
sion of the film. Not only is that not what the 
movie is about but half of the effects they 
wound up writing about did not get into the 
finished film. 

" The Cat People is a movie in the tradition 

of Orson Welles, Jean Cocteau and Franju. 

If Orpheus is considered a horror film, if The 

Trialis considered a horror film, I guess you 

could call TIk Cat People a horror film, too." 

Schrader allows his barb to find its mark 
before continuing. "This film harkens back 
to the cinema of the late 1 940s and early 1 950s 
that believed in magic. That's the heart and 
soul of this movie. I downplay enormously all 
the horror and special effects elements. 

"I underscore all the elements that have to 
do with sexual myths, what Cocteau referred 
to as 'the sacred monsters.' 

"It's very stylistic, definitely post Bertoluc- 
ci. This movie has the same crisp visual style 
as American Gigilo. There's none of that 
drippy, gooey monster stuff; the Ron Cobb- 
ALIEN stuff. This is very, very clean. My 
challenge was to introduce elements of fan- 
tasy into this crisp visual world." 

Growing serious, Schrader elaborates. 
"The most difficult aspect of this film was 
trying to create a world wherein magic can ex- 
ist next to psychological reality. Once I got 
that down, I knew the film would work. I us- 
ed a number of techniques to visually create 
that world. I wanted you to believe in a place 
where supernatural beings could walk in 

human bodies. Where supernatural creatures 
could eat the same food and talk over the 
same tables with human beings. 

"I used a number of techniques to do that. 
I employ a mythological prologue to get into 
the movie, an extended way of saying 'once 
upon a time.' I use a lot of standard Cocteau 
techniques too, like reverse motion. 

"More importantly, I used the camera as 
an independent entity. In other words, my 
camera does not serve the actors. It has a 
mind of its own. Even the most uneducated 
viewer will notice that my camera is not work- 
ing for the actor, not working for the story. 
It's working for some other presence. 
Something strange is always happening on 
the screen. 

"The subtlety of an independent camera 
can be jarring. It will leave the actors when it 
wants to, come back when it feels like it. It 
will cut in unconventional patterns. It will 
give the viewer the uneasy feeling that there's 
another force involved in all this. That force 
could be the director but it also could be the 
force of the unseen, the power of magic. 

"To a certain degree, it was hard to involve 
the actors in all of this. Everyone feels more at 
ease in a sense of psychological realism. 

But, once everything was explained, the 
cast understood what we were trying to do. 
I'm very happy with the results." 

As to his new film's kinship with the 
original Cat People, Schrader shrugs. "This 
is a fresh approach. I frankly stayed away 
from reading up on Val Lewton's history as 
much as possible. I tried to avoid any insights 
into his point of view. 

"Of course, I saw the Lewton film before I 
attempted this. I didn't want to go head-to- 
head with an authentic classic blind. After 
seeing his film though, I didn't consider it a 
classic. I think it's very well directed but you 
can see that it's a back-lot, low-budgeted 
quickie. With the exception of Simone 
Simon, it's badly acted. It's badly written, 
although it has some wonderful lighting 
techniques. I don't feel that it's an 
unassailable classic that you wouldn't want to 
touch. I'm not worried about comparisons at 

Despite the fact that he has steadfastedly 
avoided classifying his new film as a fright 
flick, Schrader has, in his own way, managed 
to tip his directorial hat to the fantasy film 
fans he's tried to avoid all along. 

"My script, with the exception of one 
scene, is totally different," he beams, "but I 
left one scene from the original in our 
screenplay just to bug the film buffs. I love 

The director begins to chuckle. "Film 
buffs are going to go crazy trying to find that 
scene. They're going to go crazy trying to 
compare the two films. You see, they really 
can'tl They are two totally different 

Schrader allows himself one final laugh. 
He no longer has to worry about the horror 
film fanatics getting the wrong idea about his 
newest production. After all, by the time they 
read his words, the cat will already be out of 
the bag in the theaters coast-to-coast. •* 

24 S7ARLOC/June 1982 


Official Space Shuttle 
Outerwear Made of 
Lightweight, Durable 
Materials by WATKINS, 
the Quality Leaders in 
Action Jacket Designs! 


Rugged construction of quality 100% Nylon, 
military khaki (olive) exterior with blazing orange 
lining, double-knit mesh cuffs and waistband, 2 
snap pockets, zipper sleeve pocket and pen 
holders; includes patches: Space Shuttle and 
American flag on sleeves, Columbia on chest, plus 
free personalized name patch. $109.95. 


Presented to President Reagan as a gift from 
America's first spaceship pilots, Young and 
Crlppen, this metallic Nylon bomber style 
comes in gold (with brown fur collar) or silver 
(with dark blue fur collar), 2 large velcro breast 
pockets plus 2 open side pockets, double-knit 
cuffs and waistband, fully lined, heavy duty 
front zipper; includes patches: Space Shuttle 
and American flag on arms, first Columbia mis- 
sion on chest, plus free personalized name 
patch for chest. $124.95 (plus postage) 


Bright blues and white accent this 
Space Shuttle Crew cap, featuring 
America's first spaceship. Venti- 
lated mesh rear and adjustable 
headband. $10.00. 


Silver metallic Nylon with full black lining, velcro 
collar, double-knit cuffs, 2 open side pockets plus 
concealed inside zipper pocket; includes patches: 
NASA SHUTTLE shoulder strip, American flag and 
Space Shuttle on other sleeve, plus free 
personalized name patch for chest. $109.95 (plus 


Silver metallic Nylon with quilted orange lining, 
black double-knit cuffs, draw-string waist, velcro 
collar, open side pockets plus zippered inside 
pocket; includes patches: NASA CREW shoulder 
strip, Columbia and Space Shuttle on chest, 
American flag on sleeve. $90.00. 


Thick, soft 100% pre- 
shrunk cotton, with a 
bold, bright 4-color silk- 
screened design, this is the 
perfect way to show your 
support of space activity. 


STARL0C press guarantees, witnout 
reservations, that you will be 100% 
satisfied with examination of your hew 
exciting space Fashions or we will 
immediately refund your money with no 
questions asked. Order with confidence. 


Cold Silver 

Adult Sizes: (circle yours) 

DEPT. S59 


(Silver only) 

Adult Sizes: (circle yours) 


Children's Sizes: 



100% Nylon Khaki/Orange 
Adult Sizes: (circle yours) 


SHUTTLE CAP/ $10.00 

(Blue/White only) 
W/adjustable headband 
S/M M/L 


100% Pre-shrunk Cotton 
Adult Sizes: (circle yours) 



Silver/ Orange Nylon 
Adult Sizes: (circle yours) 

Send cash, check or money order to: 

475 Park Avenue South 
New York, NY 10016 







Please allow a to 8 weeks for delivery. 



S2.50 UPS IN US* 
$10.00 foreign 

*UPS cannot deliver to rural box numbers, 
include $5.00 for US parcel post delivery. 


PRINT CLEARLY! Name, title, rank, etc. Up to 30 characters! 


(continued from page 14) 


Joining Jack Lousma and Gordon Fuller- 
ton on the third mission of the space shut- 
tle Columbia were 10 velvet bean caterpillar 
moths and 10 honeybee drones. 

They were part of an experiment, "Insects 
In Flight Motion Study," designed by 
18-year-old Todd E. Nelson. Nelson, a senior 
at Southland Public School in Adams, 
Minn., was one of 10 finalists in the first na- 
tional Space Shuttle Student Involvement 

Nelson's experiment focused on the flight 
behavior in zero gravity of two species of fly- 
ing insects with differing ratios of body mass 
to wing area. Gravitational force is of pri- 
mary importance for orientation and stable 
free flight of insects. 

The insects were carried in separate cani- 
sters which were stored in a shuttle locker. 
Lousma and Fullerton removed the cani- 
sters from the storage locker and attached 
them to the mid-deck wall where the insects 
were observed and filmed by a data acquisi- 
tion camera. Upon return to Earth, the in- 
sects and film were analyzed for the prepara : 
tion of a final report. •$* 

Top: STS-3 Crew Patch. Above: Todd Nelson, 
first winner of the Shuttle Student Involve- 
ment Project. 

Left: Schematic of Pioneer/ 
Jupiter flybys. A precursor to 
all future flights to the outer 
solar system, Pioneer F deter- 
mined that a spacecraft can 
safely fly through the asteroid 


Pioneer 10, the first spacecraft to Jupiter, 
now making man's first trip out of the 
solar system, completed 10 years in space on 
March 2. 

Since launch in 1972, thefar-travelingU.S. 
spacecraft has traversed the asteroid belt, sur- 
vived Jupiter's punishing radiation belts and 
operated almost without a flaw. It has trav- 
eled in excess of 6.6 billion kikometers (3.27 
billion miles), received more than 40,000 
commands from Earth and returned more 
than 125 billion bits of scientific data. 

Currently Pioneer is engaged in a new en- 
terprise: defining the extents and behaviour 
of the Sun's atmosphere, the magnetic "bub- 
ble" (heliosphere) which contains the Sun 
and the planets. 

Now more than half way between the or- 
bits of Uranus and Neptune,Pioneer's course 
will take it farther from the Sun than the 
planet Pluto in April 1983. By June 1983, it 
will be farther out than Neptune — outside all 
of the planets of the solar system, in their cur- 
rent positions. The official date for Pioneer's 
leaving the solar system is set at October 1 986. 
Pioneer will cross the farthest extension of 
Pluto's orbit in April 1989. -W 


I umber one on the list of useful gim- 
micks this month is something called 
the AudioLite, a handy little item that's sure 
to sweep the market. Put out by a firm called 
the Sharper Image, AudioLite is a sound- 
activated light switch that turns lights on 
when somebody enters a room — and then 
turns them off when the place is empty. 

How does it work? Through the use of a 
small solid-state computer, which interprets 
information through a sound sensor embedd- 
ed in the switch. As you enter the room, the 
sensor "hears" your footsteps and activates 
the switch, putting on the lights for a period 
of time ranging anywhere from seven seconds 
to seven minutes. And every time it hears a 
new sound, it resets the timer — so that if you 
are in a room, each new noise will keep the 
lights on until you either leave or go to bed. 
The sensitivity of the switch can be adjusted 
to react to sounds as soft as a key turning in a 
lock, or as loud as a shout; and there is even a 
manual override in case you want to sit quiet- 
ly in a bright room, or do something noisy in 
the dark. Finally, in the cause of energy con- 
servation, the AudioLite has a photoelectric 
cell that automatically lowers sound sensitivi- 
ty when it "sees" daylight, so that the lights 
will not go on. 

The AudioLite costs $34 each, or $99 for a 
package of four. For information, write The 
Sharper Image, 755 Davis St. , San Francisco, 
CA 941 1 1 ; or call 800-227-3436 (in California 
800-622-0733). M 

26 STARLOG/7««e 1982 


RICHARD PRYOR start work on 
Superman III in June. The $35 mil- 
lion production will begin shooting in Eng- 
land and DC scripter Cary Bates has already 
flown there to ensure consistency and conti- 
nuity in the David and Leslie Newman script. 
Warner Brothers is describing Pryor's char- 
acter as a villain who ends up more like a 
hero. A summer 1983 release is planned. . . 

Richard Pryor: to Superman III. 

CBS PILOTS to look for when the 1982-83 
schedule is announced: The Astronauts, writ- 
ten by Rod Parker and Hal Cooper. The plot 
involves two men and a woman living aboard 
a spacelab; After George, in which Susan St. 
James is the wife of a deceased computer gen- 
ius whose last achievement was a super com- 
puter which now exhibits his personality and 
voice; Gibb, in which Gil Gerard portrays an 
ex-football player who is a troubleshooter for 
the mayor of New Orleans; Greystone's Od- 
yssey, a medieval comedy /adventure/spoof 
about a handsome knight (Jeff Conway) and 
his adventures around England ... NBC 
AND UNIVERSAL are developing The 
Voyagers, a fantasy/adventure about time 
travel seen through the eyes of a 10-year-old 
SWEEPSTAKES next fall are: Buck Rogers 
in the 25th Century, Mork and Mindy, Fan- 
tasy Island and 260 episodes of Dark Shad- 
ows. My Favorite Martian is being reissued 

via Viacom... WALTER KOENIG has 
written a script for Harve Bennett's The 
Powers of Matthew Star. Entitled "Mother's 
Love," the episode is one of the first on the 
production schedule. The show resumed pro- 
duction in March after shutting down on No- 
vember 12, 1981, when stars Peter Barton 
and Lou Gossett Jr. were severely burned. 
Gossei is set to direct three episodes of the 
AWARD for best book has been awarded to 
Ed Naha's Brilliance on a Budget: The Films 
of Roger Gorman . . . CHRISTOPHER LEE 
told Variety that Captain Invincible, which 
wrapped in March, cost $6-7 million to pro- 
duce in Australia. Lee estimates it would have 
been more like $25 million here. "It was one 
of the most agreeable experiences I've ever 
had making a movie," he reported... 
SCOTT GLENN will portray Alan 
Shephard, Dennis Quaid will be Gordon 

Ed Harris: to Right Stuff. 

Mork and Mindy: to syndication. 

Cooper and Ed Harris portrays John Glenn 
in the Ladd Co. production of The Right 
Stuff. . .ADAM WEST, continuing to press 
his case about putting the Batman cowl back 
on, has finished Rest in Peace, a horror movie 
which has already announced two sequels, 
Blessed in Heaven and Damned in Hell. He 
will also host a new game show called What 
Have You Got to Lose? which lists Burt 
(Robin) Ward as executive producer. . . 
GREYSTOKE will finally swing into produc- 
tion by the end of the year. The Robert 
Towne script, hailed by movie industry insid- 
ers as being the best Tarzan script ever, will be 
made in England and directed by Hugh Hud- 
son who received many accolades for his 
Chariots of Fire. . .MARVEL PRODUC- 
TIONS and Fred Silverman's InterMedia En- 
tertainment have signed a joint production 
deal concentrating on animation for daytime 
and primetime television, new technologies 
and theatrical film production ... LAW- 
RENCE KASDAN was nominated for best 
comedy screenplay for Raiders of the Lost 
Ark and best dramatic screenplay for Body 
Heat when the Writer's Guild released their 
nominations in late February. . .ROBERT 
CULP and his wife Candace are the proud 
parents of a daughter, Samantha . . . DEEDS 

NOT WORDS is the title for the sequel to 
Megaforce with production slated to begin in 
September, possible in the Virgin Islands. . . 
SEAN CONNERY's next film, Maiden, 
Maiden, is now called Five Days In Summer, 
it's a love story. . . MANHATTAN TRANS- 
FER will supply the music for Lucasfilm's an- 
imated feature Twice Upon a Time. The 
Warner Brothers Christmas release spotlights 
two unlikely heroes who are conned into 
stopping time. . . WALT DISNEY'S Disney- 
land Tokyo is scheduled to open in Spring 
1983. The coproject, with the Oriental Land 
Company, will be located six miles from the 
center of Tokyo and estimates call for 10 
million visitors in the first year . . . LINDSAY 
WAGNER has signed an exclusive deal with 
United Artists in which UA will coproduce 
features for television and movies with Lind- 
say Wagner Productions and Wagner will 
star in UA productions. The first film will be 
based on Irving Wallace's The Second Lady. 
Wagner will play the dual role of the Presi- 
dent's wife and a look-alike KGB agent sta- 
tioned in the White House. The deal also calls 
for a pilot to be developed for ABC . . . GER- 
RY ANDERSON'S Thunderbirds are being 
revamped at Japan's Toei Animation Stu- 
dios. The latest computer animation is said to 
be involved in the production of Thunder- 
birds: 2086. ITC Entertainment expects the 
series to be available here after fall, 1983. -fc 

They'd rather shoot down enemy space- 
craft than meet their friends on the foot- 
ball field. Their happiest moments are those 
spent in front of colorful, bleeping screens 
where the press of a button or the push of a 
stick puts them in charge of the destiny of the 
world. Video gamesters are a fast-growing 
group and Hollywood is beginning to take 
careful note of them. 

Polygram Pictures has announced plans to 
film Spaceblasters, a $10 million feature be- 
ing fully financed by CBS Theatrical Films. 
Scheduled for a late spring or early summer 
start, Spaceblasters is being produced by 
Adam Fields and Jay Weston for an antici- 
pated release around Christmas. 

The film will combine live-action with 
computer animation in a way that will 
' 'change films as we know them' ' says Fields. 
"We are aiming to create a full-sensory ex- 
perience for the audience." The producers 
are in negotiation with several electronic 
game companies to manufacture a 
Spaceblasters game to be installed in theater 

Film computer and animation specialist 
Bill (Computer Graphics Choreographer, 
Tron) Kroyer has already handed in a first- 
draft screenplay; science writer Timothy Fer- , 
ris will act as technical advisor. * 

STARLOGA/i/fle 1982 27 



Original electronic soundtrack music in stereo Ennio Morricone's score musically, links the 
from the SF classic. mysterious events and violent deaths. 


The current hit movie staging Treat Williams. 
Scored by Paul Chihara 


Exciting orchestral score for humorous SF 
adventure RARE! 


composed by 
Ennio Morricone 

First Release: 

Cult SF film soundtrack, music and dialogue. 


Sensational DePalma thriller. 
Exciting Herrmann-esque music. 


First U.S. issue of original Italian pressing of the Pino Donaggio's latest horror score is 
Ennio Morricone score. exciting and richly symphonic. 

■T VOYAGE ^]fl 

aft JSf *$* **. *+■ CO^C 


Miklos Rozsa's exotic music, plus Franz 
Waxman's "Paradine Case" rhapsody. 


Lalo Schrifrin's exciting soundtrack 
adventure /drama score. 


Joseph Gershenson conducts 
thriller music by Henry Mancini. 


The original motion picture soundtrack, 
composed and conducted by Stu PI 

^4 ^_ 



j?l~ ,: 


Dynamic, percussive music to 
futuristic adventure film. 


Herrmann conducts original soundtrack. 
First time in full stereo! 


The Classic 1950 SF/adventure movie, 
with music by Ferde Grofe. 


Miklos Rozsa conducts Royal Philharmonic in 
thrilling H.G. Wells adventure score. 


Specially arranged by John Williams and con- 
ducted by Charles Gerhardt. 


Music of tomorrow from Neil Norman, 
Tangerine Dream, and others. 


Harry Lubin's mood-setting score from the 
classic 50' s TV series. Stereo recording 


London Symphony Orchestra. Fabulous Film 
Music 1 Dynamic Audio! 



Laurie Johnson's exciting soundtracks, 
including Dr. Strangeiove and Hedda. 



The complete soundtrack from the hit science fic- 
tion motion picture Escape From New York, star- 
ring Kurt Russell, Adrienne Barbeau and Ernest 
Borgnine. The album features all the music of the 
film, following its hero, Snake Plissken, as he 
journeys through the nightmare underworld of 
New York City Prison. Includes the powerful, throb- 
bing title sequence, the exciting "Over the Wall" 
theme, and a chorus of inmates singing the bitingly 
satirical "Everyone's Coming to New York." 


Bernard Herrmann's 50th and last sound, 
track score. 

..... ..._ . — ,„„, MASTER OF THE WORLD 

Original soundtrack suites: The Cyclops, The Vincent Price adventure/tantasy with a 

Cisco Kid, Amazing Colossal Man .5 more! sweeping Les Baxter score. 


Music by Peter Schickele: songs by Joan 
Baez. Newly remastered. 


Complete Herrmann score to classic Hitch 
cock thriller. Newly recorded! 


Blended synthesizer & traditional in 
struments create nightmare music. 


"This Island Earth," "Shrinking Man," 
"Revenge of the Creature" and 9 more! 


Leith Stevens' score to the prophetic 
George Pal film. Stereo recording. 



Ust: $8.98 Special: $7.98 

List: $8.98 Special: $7.98 

List: $8.98 Special: $7.98 


List: $10.98 Special: $9.98 


List: $10.98 Special: $9.98 


List: $8.98 Special: $7.98 

List $9.98 Special $8.98 


List: $8.98 Special: $7.98 


List: $8.98 Special: $7.98 

List: $10.98 Special: $9.98 

STARS Special: $7.98 

WEST (Digital Stereo) 

List: $1 5.00 Special: $1 2.00 

List: $8.98 Special: $7.98 

List: $8.98 Special: $7.98 


List: $8.98 Special: $7.98 


List: $8.98 Special-$7.98 

List: $8.98 Special: $7.98 

List: $8.98 Special: $7.98 

(Compatible Quad) 

List: $8.98 Special: $7.98 



List: $8.98 Special: $7.98 

Our readers do not pay list prices— every 
special price saves you over 1 % per record. 

MOON (Digital Stereo) 

List: $15.00 Special: $12.00 
BACK (Digital) 

List: $15.00 Special: $12.00 



'List: $15.00 Special: $12.00 

List: $8.98 Special: $7.98 


List: $8.98 Special: $7.98 


List: $8.98 Special $7.98 

YORK Special: $7.98 


List $9.98 Special $8.98 


List $9.98 Special $8.98 


List $9.98 Special $8.98 


DEPT. S59 

475 Park Avenue South 

New York, N.Y. 10016 





U.S.A. —$1.12 ea. record 
Canada —$2.02 ea. record 
Foreign —$4.02 ea. record 


Total for records: 
Add postage: 
Total enclosed: 


(Payment in U.S. funds only.) 

NOTE: If you do not want to cut this page, send 
order on another piece of paper. Please allow 4 to 6 
weeks for processing and delivery. All records 
Ask for these exciting soundtracks at your favorite record store, or order direct at these special DISCOUNT rates! 


The Young 


The weightless 

Can two new faces find happiness aboard the 

Enterprise in Star Trek? Will Kirstie Alley and 

Merrit Butrick soar to stardom as spacefarers? 

The world will find out on June 4, 1982 . . . but 

first a word from the actors. 

On June 4, 1982, Paramount Pictures 
will launch Star Trek: The Venge- 
ance of Khan into theaters all over 
the United States and Canada. 

Trek is sure to be considered a controver- 
sial film. Following the critically assailed Star 
Trek-The Motion Picture, a big budgeted 
showcase of special effects, the new movie is a 
blatant attempt to recreate the original TV 
show's flavor. It's a straightforward action- 
packed adventure featuring the expected gag- 
gle of familiar faces (from William Shatner 
and Leonard Nimoy to Ricardo Montalban 
in a reprise of his "Space Seed" episode role 
as villainous Khan) as well as a few new 

Spotlighted on this voyage of the good ship 
Enterprise will be two important additions: 
Lt. Saavik and scientist David Marcus. 

Saavik, portrayed by Kirstie Alley, is a 
cadet protegee of Trek's master of the inter- 
planetary deadpan, Mr. Spock. She is cool, 
calm, collected and boasts a positively sultry 
pair of Spockian ears. Unlike Spock, 
however, she is a combination of alien races. 
Neither of her parents are from Earth. 

Marcus, on the other hand, is 100% 
human. As portrayed by 22-year-old Merritt 
Butrick, Marcus is the slightly hot-headed 
son of scientist Dr. Carol Marcus (Bibi 
Besch), one of the most respected minds of 
the Federation. Stationed on Space Lab 
Regula One, Marcus finds himself aboard the 
Enterprise as the result of a most curious 
chain of events. 

Both Saavik and Marcus must learn to "fit 
in" once aboard the starship, much as the ac- 
tors had to do on the Paramount lot when 
shooting began. For both Alley and Butrick, 
Star Trek represents a quantum jump, career- 
wise. The film is Butrick's second big movie 
role. It is Alley's first. In fact, only one year 
ago, the actress was residing in her hometown 
of Wichita, Kansas trying to figure out 

30 STARLOG/ 'June 1982 


whether to go West or to grow wheat. 

One week after the Trek cast and crew 
finished up work on the Paramount lot, both 
actors took time to discuss their roles in the 
movie, extremely mindful that the film's 
plotline is considered top secret by everyone 
involved with the project. 

Carefully side-swiping any specific details 
(Will Spock buy the farm? Will he merely 
lease it? Will he wind up wearing Obi- Wan 
Kenobi's dayglow hand-me-downs?), the 
two young professionals reveal personalities 
that are almost diametrically opposed. 

Butrick is a low-keyed, affable fellow, yet a 
person who carefully considers his answers 
before actually tackling a question. Alley, on 
the other hand, gives new meaning to the 
term "spontaneous combustion," obviously 
enjoying her meteoric rise to Starfleet status 
and punctuating most of her answers with 
voice-cracking laughter or an appropriately 
witty aside. She's the type of person who 
could legally be considered an alternate form 
of energy. 

Both actors recall their first feelings walk- 
ing on the massive Enterprise set on the Para- 
mount lot in Hollywood with obvious awe. 
"Before we even got to the set," states Mer- 
ritt, "when we had readings at director 
Nicholas Meyer's house, my legs were already 
shaking. My teeth were chattering. I blushed 
a lot. It was like being in a dream. 

"Every time I heard Nichelle Nichols' 
voice I just flipped out. I felt like I had actual- 
ly lost touch with reality. I was actually in Star 
Trek. I was watching a TV show from the in- 
side out. 

' 'The set itself was beautiful, incredibly ex- 
citing. I was amazed at how realistic it was. I 
actually felt like I was out in space . . . either 
that or inside an Atari video game." 

"I was totally stunned," adds Kirstie. "It 
was like being in a candy store. There were a 
million twinkling lights and a million panels. 

It was quite overwhelming. You felt very 
powerful. You felt that you could really cause 
trouble for the whole Universe up there. 

"I was really awed by the original cast, too, 
especially Leonard Nimoy. I'd never met him 
before but I totally admire Leonard and 
DeForest Kelley. When I met them it was like 
meeting someone out of a story book. I must 
have come off like a real groupie." 

The actress lapses into a delightfully zany 
laugh. " 'Oh gawsh! Mr. Nimoy. Oh wow!' 
Now, Leonard is a very reserved fellow. He 
has a wonderful sense of humor but it's very, 
very dry. He looked at me and his entire face 
just sort of. . .froze. 'Oh, oh. I don't know 
about this one!' I didn't feel intimidated, 
though. I was too excited. I guess ignorance is 

"Who? Me?" 

While Merrit came about his role through 
traditional casting based on both his reputa- 
tion and previous roles, newcomer Kirstie 
landed her Saavik spot through a combina- 
tion of serendipity and savvy. 

"When I was a little kid," she recounts, "I 
used to watch Star Trek on TV. Every week, 
every episode, I'd sit there thinking T should 
play Spock's daughter.' I mean, I could arch 
my eyebrows as good as Leonard Nimoy! Get 
'em waaaay up there. Whenever I'd watch 
the show I'd write dialogue for myself so I 
could actually take part in the story. When 
Leonard said a line I'd respond. 

"When my manager told me about this 
part, I thought 'Perfect! It's not Spock's 
daughter but it's pretty close.' I didn't know 
this at the time but there were a lot, repeat, a 
lot, of actresses trying out for this role. 

Right: David Marcus (Merritt Butrick) and Lt. 
Saavik (Kirstie Alley). He's the son of a Federa- 
tion scientist; she's the cadet protegee of Mr. 

"When I read for Nick Meyer I did all the 
Spock routines I'd done as a kid. The 
eyebrow. The stance. The works. When I was 
finished he said 'Do you know that you move 
your body very much like Leonard Nimoy.' I 

just blinked. 'Who meV " 

Once aboard the Enterprise, the two new 
faces of the 23rd century had to somehow 
find a niche for themselves in a crowd that 
had, off and on, been playing off each other 
for over a decade and a half. 

"Everyone was incredibly supportive," 
says Merritt. "That helped a lot. My 
character is a scientist who, basically, is in 
conflict with all that Kirk and the Enterprise 
represents. He's a very adamant, peace- 
loving sort who is opposed to anything that 
smacks of the military. 

"He'sjuvenile, idealistic. He doesn't really 
have a full picture of what the Federation 
means. He thinks that they're all a bunch of 
futuristic Nazis. He believes that scientists 
have traditionally been pawns of the military. 
God, he has an unbelievable amount of 
hostility bubbling within him. At the same 
time, however, much of his hatred arises 
from misinformation. He really has to grow 
up during the movie. I got a lot of emotional 
support, as an actor, from the TV Trek 
veterans, in trying to shape Marcus. 

"I wind up on the Enterprise after being 
rescued from my space station." The actor 
mentally checks himself. "I really shouldn't 
say too much. There are two or three 
storylines going on in the movie that wind up 
intertwining during the finale. I feel awkward 
talking about this film. Most of the plot 
points are pretty secretive at this point." 

With that warning out of the way, Butrick 
continues his analysis of Marcus. "My role is 
pretty strange. I come on as an angry young 
man a lot, yet I have to appear sympathetic, 

Above: Marcus, not knowing Kirk's intentions, has wrestled the good Admiral to the ground in a 
scene that takes place on Marcus' space station. Below: A cool, calm Saavik takes a few pointers 
from an equally cool Mr. Spock. "It's not Spock's daughter." Alley says , "but it's pretty close." 

too. Marcus can be incredibly violent. He's 
an uptight little person who believes in peace. 
He just has one dramatic encounter after 
another. He's constantly bombarded with 
stimuli. I'm almost a throwback to the 
original Kirk character. Marcus is sort of like 
an updated version of what Kirk must have 
been like when he was young: intelligent and 
clever but arrogant and impetuous." 

For Kirstie, the aloof Saavik presented her 
with the problem of actually having to "wind 
down" for a role. "It was really difficult to 
keep a lid on my personality, ' ' she comments. 
"Saavik was fun but it was definitely a 

"The most difficult aspect of the job was 
developing Saavik in a believable, acceptable 
way. With a man, it's easier to adapt an emo- 
tionless personality than it is with a woman. 
When you're trying to show no emotion as a 
woman, you can come off as being cold and 
unlikeable if you're not careful. 

"It was hard to be unemotional and yet re- 
main feminine. Saavik's main trait seems to 
be anger . . . the anger that a woman suddenly 
reveals when she blows up at something. 

"She's like a cat that is ready to pounce but 
never allows herself that freedom. She has a 
myriad of emotions stored up within her but 
can't release them without going totally 
psychotic. I think there's also an element of 
Saavik that is quite sexy, passionate. She 
understands logic, rage and passion. She's 
very intelligent, of course, as well. She allows 
herself a bit of smirking at the lowly men 
around her, too. I think that attitude 
makes her a bit more interesting and 

"It wasn't an easy role to get into. To 
relieve the tension, Merritt and I came up 
with a pretty effective idea. We danced the 
entire time we had between takes. We'd go 
off the set and waltz and cha-cha and do 
ballroom dancing. People would gather 
around and watch us. We were very dramatic 
dancers. We dipped. We did all the moves. 
We're talking happy feet here!" 

Doughnuts & Dailies 

Aside from the emotional/intellectual 
challenges the young actors faced while mak- 
ing the film, the twosome had more, er, prac- 
tical hurdles to clear as well. 

' 'What was the most difficult aspect of this 
movie for me?" Kirstie ponders when the 
question is posed. "I've got it!" she beams. 
"The hardest thing for me to do was not eat 
doughnuts. I swear, the first week I was on 
the set I ate 30 doughnuts." 

"/ made the big mistake of watching 
dailies," Merritt laughs. "Argh! I died. Man, 
some actors can go to see dailies and really 
pick up on little nuances in their roles. Me? It 
destroys me! I would sit there watching 
myself and just cringe. Never again." 

Aside from the occupational hazards in- 
volved, both Kirstie and Merritt agree that the 
set of Trek was a downright jovial one; a 
marked change from the set of the first Trek 
film which many people remember with as 
much fondness as most convicts remember 



Above: The Enterprise transports Trek new- 
comers and regulars to their next adventure: 
FXbyl.L.M. Rignt: Saavik takes a prime posi- 
tion on the bridge. 

"There wps 3 wonderful atmosphere on 
this set, a; Alley, i spe.»i a lot of ume 
with Merrut. We have the same sort of 
charisma off-stage as we do on. He's a bit 
vulnerable, like James Dean. I'm very outgo- 
ing. It was easy for us to play off each other. 
Great fun. 

"The movie's story has so much to do with 
life and energy that everyone just fell right in- 
to the mood. Everyone had a rowdy time. 
There were a lot of well-placed jokes in be- 
tween hours of very, very hard work. Nick, 
by the way, does a great Jimmy Durante." 

"This whole experience was magical," in- 
jects Merritt. "Nick has all the energy of a 
child involved with a new train set. He's an in- 
tellectual who can rally the emotions. 

"Everything about this film is exciting. 
The action in it is unrelenting. There will be a 
very nice, calm scene and, then, WHAM, 
everything starts to happen at once. The input 
is overwhelming. It's theatrically and literally 

"The thing that's neat about it is that it's 
(continued on page 64) 


Science Fiction Classic #4 



An interview with Cinematographer 


To the list of such successful pairings 
of fantasy film directors and cinema- 
tographers as Roger Corman & Floyd 
Crosby and Terence Fisher & Jack Asher/ Ar- 
thur Grant should be added another creative 
combination— John Carpenter & Dean 
Cundey. As director of photography on 
Carpenter's Halloween, The Fog, Escape 
From New York and 
Halloween II, Cun- 
dey displayed a dis- 
tinctive visual style 
which consistently 
transcended their lim- 
ited budgets and hur- 
ried shooting sched- 
ules. This summer 
will see the release of 
their fifth consecutive 
collaboration, a new 
version of the classic 
science-fiction adven- 
ture The Thing, for 
Universal Studios, 
which proved to be 
Cundey's most diffi- 
cult and ambitious as- 
signment to date. 

"It's certainly the 
longest I've ever been 
involved on a 
project," the 36-year- 
old cameraman c - ■ 
from his aome in La 
Canada, California, 
a month before con- 
cluding work on the 
film. "I started in 
June 1981 and will finish in February 1982, so 
I've seen it through from very preliminary 
discussions up to completion." 

It isn't surprising that Carpenter has come 
to rely so heavily on Cundey's contributions. 
A graduate of the UCLA film school, 
Cundey has previously photographed 25 
features, almost all of them low-budget ex- 
ploitation pictures, and also worked as a 
make-up man and film editor. Among his 
genre credits are Corman's Gas-s-s-s! (make- 
up), Beware The Blob (photography of 
animal sequences), and as director of 
photography: The Witch Who Came out of 
the Sea, The Creature From Black Lake, 
Satan's Cheerleaders, Without Warning, 
Galaxina, King Cobra and episodes of the TV 
series Tales of the Unexpected. 

Cundey first learned of the possibility that 


Carpenter might direct The Thing during 
post-production on The Fog, although he 
says it came "the closest to reality at the end 
of Escape. There'd been discussions before 
then, but it was on and off again. John is 
always getting offers, so every now and again 
he'll mention them to me. But the way things 
are in Hollywood, you're never really sure 

Dean Cundey (with Panafiex) and crew take equipment to set up shot on location in B.C 

until production actually begins. He had a 
couple of other offers, such as one entitled 
Lightning for producer Jennings Lang at 
Universal, but that started and then stopped. 
There was also El Diablo, which was sup- 
posed to go before The Thing, but with the 
tragedy of Heaven's Gate everybody shied 
away from westerns." 

Although he fears he's becoming stereo- 
typed as a fantasy film photographer, 
Cundey still enjoys working in the field. "I've 
always been very visually oriented," he says. 
"These kinds of films depend to a great ex- 
tent on the photography and lighting, more 
so than dramatically oriented films with ac- 
tors sitting in a room talking. You're 
manipulating reality so much more, as op- 
posed to Kramer vs. Kramer or Ordinary 
People, in which you're trying to just 

duplicate reality. With fantasy films you try 
to make the unbelievable believable. 

"That's why I enjoy doing projects like 
The Thing, and making a new version of a 
classic. It's interesting to contribute to films 
that go down in history, and to try making 
one you hope will also hold up as well." 
Ironically, Cundey didn't see the original 
1951 Howard 

Nyby version until 
just last year. "It was 
one I missed, for 
some reason, when I 
was growing up," he 
admits. "I went back 
and looked at it spe- 
cifically for this pro- 
ject, to make a com- 
parison, so I don't 
relate to it as much as 
other people do." 

Nevertheless, he 
was very impressed 
by what he saw. "I 
knew that most mov- 
ies like it made in that 
era were done very 
quickly and inexpen- 
sively, but it was very 
polished and had so 
much style," he says. 
"The fact that there 
was a deal of 
overlapping dialogue 
and the photography 
was very well done 
showed that a lot of 
care had been put into it and a lot of talent 
was displayed there. I also appreciated that 
they took the trouble to do something we also 
took a great deal of trouble to do, which was 
to show the breath coming out of the actors' 
mouths as they talked in cold areas." 

As much as he enjoyed the film, Cundey 
doesn't feel he's been presumptuous in at- 
tempting to make an improved version. "I 
was very intrigued by that, because I don't 
often believe remakes are necessary," he 
states. "There have been times, however, 
when I would have loved to remake a picture I 
worked on because it was so horrible. In a 
case like that you're probably doing a good 
deed for society in trying to make it better. In 
this case, though, we didn't go back to the 
previous screenplay but to John Campbell's 
entire original short story, of which Hawks 

36 %l.\RLOG/June 1982 

Above: Hunting the "thing" with dynamite. Below: One of the scientists seeks "thing" with flame thrower as the film rushes to a screaming climax. 


only used a small portion. It's almost as if 
we've done a completely different film, using 
just the same basic premise. Therefore I don't 
think we're duplicating or stealing from a 

Indeed, Carpenter's version extends the 
storyline far beyond Hawks' adaptation. 
This time, the visitor from a galaxy far, far 
away is more than just a homicidal vegetable. 
Consistent with Campbell' s core concept, the 
alien invader is now a shape changer which 
can possess the minds and bodies of every liv- 
ing being at an Antarctic research station. 
Collective paranoia runs rampant as the 
members of the scientific expedition attempt 
to identify and eliminate the resilient 

fx Magic 

To visualize such a literally explosive situa- 
tion, Carpenter turned to make-up magician 
Rob Bottin, mechanical effects expert Roy 
Arbogast, and master matte painter Albert 
Whitiock. Acknowledging the key contribu- 
tions from all creative departments, Cundey 
candidly shares responsibility for the look of 
the picture with his co-workers. 

"I've always felt that any cinematographer 
who wins an Academy Award probably owes 
half to the art director, and the art directors 
who win likewise owe a good portion to the 
cameramen," he points out. "The two go 
hand in hand, because if you don't have 
something interesting to photograph it will 
look very plain. A cameraman can ruin a 
great set by not showing it or lighting it badly. 

"On The Thing we had an excellent art 
director named John Lloyd. All of his sets 
were designed and built from the ground up, 
because there were no existing locations. 
That, of course, contributed to the look. In 
fact everybody in the ' family' that works with 
John Carpenter contributed to a great 

Cundey' s own contributions began in pre- 
production, with consultations about story- 
boarding and set design. "I suggested putting 
ceilings on all the sets and bringing the pipes 
into the frame line, to increase the 
claustrophobia," he explains. "Lloyd was 
delighted with that because he likes to put 
ceilings on sets, but cameramen don't 
because they like to put lights up there. Since 
I've shot mostly on real locations, I'm used to 
working with ceilings." 

Cundey' s input also included ideas involv- 
ing lighting and use of color. "I suggested us- 
ing practical lights to make it look realistic, so 
we lit whole scenes with just the flares the ac- 
tors carried around," he remembers. "Dur- 
ing our original discussions we wanted to 
shoot in black and white. However, major 
studios are very reluctant to do that — espe- 
cially Universal— because they look to color 
as part of the potential TV sale. Instead I sug- 
gested we take the color out of everything as 
much as possible. 

"We ended up using the color selectively, 
with the 'thing' being probably the most co- 
lorful object in the entire movie. We painted 
the inside of the Arctic station in shades of 
gray, and even tested the paint colors to get 

Director John Carpenter takes a peek through the camera's eye. 

one that was extremely neutral. We also re- 
painted the props gray. Even the wardrobe 
was coordinated to be in somber colors of 
dark blue, gray and brown. 

"Whenever we wanted to give color to a se- 
quence, I did it with lights. For example, the 
lights the men used to get from building to 
building in a storm were blue, so the lights 
that came through the windows to the in- 
teriors at night were blue." 

In visualizing the lighting scheme and 
camera angles, Cundey was aided by the 
storyboards drawn by production illustrator 
Michael Ploog. (See the interview in 
FANGORIA #18.) "John and I sat down 
with anybody involved in a special-effects se- 
quence, like Rob Bottin and Roy Arbogast, 
and worked out the cutting pattern, the 
camera placement, and which particular 
shots would be necessary to make a story 
point," Cundey explains. "We'd make a 
basic plan, from everybody's standpoint, of 
what a sequence required. Based on that, 
Mike would make quick thumbnail sketches 
and then disappear. He'd come back later 
with these absolutely marvelous drawings 
that were very inspirational. They were very 
dramatic and had a great deal of action in 
them. There were times when the sequences 
ended up very differently from what he drew, 
but I think he contributed a lot to the mood 
and style of the whole picture." 

Test Photography ., 

In addition to shooting the entire movie, 
Cundey also photographed the tests required 
to perfect the complex make-up and special 
effects equipment that was used. "Rob 
wanted to find out about colors and materials 
and movements, so we tested them whenever 
possible," he comments. "I prefer to shoot 
all the footage myself, because I've had past 
experiences where we sent a second unit off to 
finish a sequence and their style of lighting 
and coverage was different and didn't go 
together smoothly. For The Thing I've even 
shot what would be considered effects inserts, 
so I'd know everything was consistent. We 
did those with the knowledge that we'd look 
at them the next day and might go back and 
revise them. It was a loose approach in which 
we went for the best effect, with the possibili- 
ty of coming back to make it even better." 

Cundey and company utilized what he 
feels was the most efficient method of staging 
the major effects sequences. "We started off 
with very simple effects," he reports, 
"because when you're working with actors at 
the same time you try not to do terribly com- 
plicated things, or else you'll have a huge crew 
sitting around while you fix a little wire that's 
come loose. For the most part the film was 
designed so that whenever the actors were in- 
volved with the 'thing' it was all very simple 
stuff, and often just a shape in the 
foreground. Then when they looked and saw 
it, we were able to do the effect at a later date 
when we could take the time to make sure 
everything worked perfecty— and if it didn't 
work we could come back the next day to im- 
prove it. 

"Now we're into the very intricate effects 

38 STARLOG/June 1982 

Cundey (left) and Carpenter block out a scene. 

Rob has been cooking up over the last nine 
months, and they're quite amazing. It's hard 
to know if they'll really be appreciated by the 
audience, because the public is so used to see- 
ing the fantastic they almost take it for 
granted that you're going to do incredible 
things. Even so, some of the stuff Rob is do- 
ing hasn't been done before, to my 

Cundey declines to describe those effects in 
any detail, because "we're hoping to get reac- 
tions from people when the film is shown to 
see how effective they are. Some of the 
mechanics being used are very ingenious in 
allowing us to have a 'thing' that does stuff 
which before would have been done with 
animation or blue screen optical work. The 
old way was very tell tale when you looked at 
it, because the film became very grainy. By 
contrast, Rob is doing many of the effects in 
the camera so we get a clean and consistent 
look. If they work as well as we hope, they'll 
be quite remarkable. We've been telling each 
other this is the most complicated monster 
movie ever made — with our tongues in our 
cheeks. But now it's looking like that might 
really be true." 

Some Challenges 

Despite such technical success, Cundey 
concedes there remains one effect they still 
haven't quite achieved. "Rob and I wanted to 
change the speed of the camera while it's roll- 
ing, so that an object could be made to move 
quickly and then slow down and then move 
quickly again," he describes. "We called a 
few people about it, but they said it couldn't 
be done. Finally Bill Edwards, the head of 
Universal's camera department, heard about 
what we wanted to do and called up the head 
of Panavision, who became very intrigued. 
So they've built an attachment for us that 
goes on their Panastar variable speed camera. 
We've been testing it, but it's very tricky to 
use without a lot of computer control. That 
would be our next step, should we decide to 

take it further. We've done a couple of shots 
with it which I think will appear in the film, 
but we haven't been able yet to take it to the 
point we were hoping to." 

Another special effects problem Cundey 
confronted concerned the willing suspension 
of the audience's disbelief. "Audiences are 
aware of the fact that you're not going to, for 
example, split a real person's head open," he 
observes. "They automatically know some- 
thing 'phony' has been built. No matter how 
hard you work at lighting any of the 
'rubber' — as we generically call it — you can't 
get it to look like a real skin surface. 
Therefore the biggest challenge on this film 
has been to get the rubber to look real. 

"Of course, nobody will believe it's real 
anyway, because the stuff it does isn't within 
the realm of reality. But I've always felt that 
the more realistic you can make it look to an 
audience, the more inclined they are to 
believe the unbelievable. You have to give 
them realism to hang on to when you lead 
them into fantasy. So in the lighting and the 
look of the film I've been striving to make it 
as realistic as possible." 

The realism almost became too much for 
Cundey to contend with when he and his crew 
faced the unstable weather conditions at the 
rugged lcoations on which they shot. "We 
went up to Stewart, British Columbia, which 
is a very small mining town," he recalls. 
' ' From there we went up a 27-mile dirt road to 
a little hill overlooking a huge glacier, where 
we built the exterior set of the Antarctic 
research camp. They began construction in 
July 1981 when the snowfall hadn't covered 
the area yet, and we shot there for three weeks 
in November after it snowed. That was quite 
an amazing experience, because Stewart is 
considered to be the snowfall capital of North 
America. The temperature generally ranged 
around zero, so we were all outfitted with 
heavy expeditionary clothing. 

"The guys in the various departments con- 
tacted people who had worked under those 
conditions, to pick their brains for any prob- 
bems we might encounter. We were pretty 
well prepared, but there were times when it 
became really difficult to work because of the 
weather. One of our biggest problems was 
that the lubrication in the camera lenses 
would get very thick, so it would take forever 
to pull focus on an actor as he walked from 
one spot to another." 

Hollywood at 40° 

To match the authenticity of this icy at- 
mosphere with the interior scenes filmed in 
Hollywood, it was necessary to show the 
breath coming out of the actors' mouths in 
certain sequences. "One of our first thoughts 
was to build the sets inside a big ice house," 
Cundey reveals, "but we couldn't find one 
large enough. Then we decided to refrigerate 
the stages on the Universal lot. We had a cou- 
ple of experts figure out the humidity to 
temperature ratios, and we brought in as 
many huge portable air conditioners as the 
studio had. We sealed off the stages and built 
huge humidifiers and misters to add moisture 
to the air. We refrigerated the stages down to 

about 40 degrees. That was very interesting, 
because we were shooting during a big hot 
spell. We went into these very cold and wet 
stages wearing heavy expeditionary clothing 
and during breaks we stepped outside, where 
it was 90 degrees. Everybody else working on 
the lot wondered who these strange people 
were walking around in down jackets." 

At the time of this interview in late 
January, Cundey hadn't committed himself 
to any future assignments. It appears in- 
evitable, however, that he will continue his 
association with Carpenter. "I think John's 
contract even specifies that I be given the first 
opportunity to photograph each of his 
films," he discloses. "I enjoy working with 
him very much. I've worked with a lot of dif- 
ferent directors — guys who were doing their 
first films as well as old pros—and without a 
doubt John is the most pleasant of them all. 
He's extremely knowledgeable about your 
problems and how he can help solve them. 
He's extremely responsible, and very aware 
of the fact that there's always a budget and 
time schedule attached to a movie. 

"He agrees with something I've always 
believed in — that besides making the best 
movie possible, you have an obligation to do 
it within the framework presented to you. 
Therefore he doesn't make decisions on the 
basis of his ego, but rather on what's best for 
the film. He's very concerned about working 
with people who think the same way." 

Among Cundey's career options are two 
further collaborations with Carpenter. One is 
the long-delayed gothic western El Diablo, 
which Dino De Laurentiis recently expressed 
an interest in co-financing with EMI Films. 
Also in the offing is a feature version of 
Stephen King's novel Fires tarter, based on a 
script by Thing screenwriter Bill Lancaster 
(see STARLOG #58), which Cundey hopes 
will begin pre-production soon after The 
Thing opens on July 30. 

In the interim, Dean Cundey remains open 
to offers from other directors. His 
preference, though, seems to be for the SF- 
oriented Firestarter project. "I've always 
been a Stephen King fan," he admits, "and 
have read most of his books. The prospect of 
doing a film based on a King novel which is a 
semi-classic in contemporary literature is very 
exciting to me. I read it again recently, and 
I'm really looking forward to it." * 

Crew creates a "blizzard" in the frozen north. 
STARLOG/7«ne 1982 39 

i >■« »*■>■»* of i ^ 

lit 1 « M « 1WI.** F 1 ** J* > 
U ... .,■*.»»-».« *\» Si 



John W. Campbell's classic story formed the basis for Howard Hawks' The 
Thing. John Carpenter is sticking even closer to the story for his new ver- 
sion of The Thing. Because the novella is now out of print, starloc is 
delighted to present the original story to our readership in its entirety, 

serialized in three parts. 


Synopsis: Last issue we were introduced to the 
isolated Antarctic scientific base and its crew, in- 
cluding Commander Garry, second-in-command 
McReady and Blair, the biologist. The group had 
found a spaceship buried in the permafrost, which 
was unfortunately destroyed when they tried to 
blast it free. They were successful, however, in dig- 
ging out a block of ice containing one of the ship 's 
quick-frozen passengers — a gruesome looking 
thing with three red eyes and many tentacles. The 
alien was taken back to the camp and allowed to 
thaw so that it could be properly studied. But when 
it had thawed, it came back to life. . . and escaped. 
The men cornered it near "Dogtown, " the shed 
where the sled dogs are kept. The dogs attacked it 
and then the men joined the fray. The cornered 
beast fought viciously, but was finally killed by 
electrocution as two 220 volt conductors were 
jabbed repeatedly into its torn and oozing flesh. 
But will it stay dead? 


Carry looked about the crowded room. 
Thirty-two men, some tensed nervously 
standing against the wall, some uneasily 
relaxed, some sitting, most perforce standing, as 
intimate as sardines. Thirty-two, plus the five 
engaged in sewing up wounded dogs, made thirty- 
seven, the total personnel. 

Garry started speaking. "All right, 1 guess we're 
here. Some of you — three or four at most — saw 
what happened. All of you have seen that thing on 
the table, and can get a general idea. Anyone 
hasn't, I'll lift — " His hand strayed to the tarpaulin 
bulking over the thing on the table. There was an 
acrid odor of singed flesh seeping out of it. The 
men stirred restlessly, hasty denials. 

"It looks rather as though Charnauk isn't going 
to lead any more teams," Garry went on. "Blair 
wants to get at this thing, and make some more 
detailed examination. We want to know what hap- 
pened, and make sure right now that this is per- 
manently, totally dead. Right?" 

Connant grinned. "Anybody that doesn't agree 
can sit up with it tonight." 

"All right then, Blair, what can you say about it? 
What was it?" Garry turned to the little biologist. 

"I wonder if we ever saw its natural form." Blair 
looked at the covered mass. "It may have been im- 
itating the beings that built that ship — but 1 don't 
think it was. I think that was its true form. Those of 

Who Goes There?, by John W. Campbell, Jr., copyright 
1938 by Street & Smith Publications. Inc. (renewed 1966 
byTheConde-Nast Publications, Inc.). All rights reserved. 
Reprinted by permission of the author's agents. Scott 
Meredith Literary Agency, Inc. 

us who were up near the bend saw the thing in ac- 
tion; the thing on the table is the result. When it got 
loose, apparently, it started looking around. An- 
tarctica still frozen as it was ages ago when the 
creature first saw it — and froze. From my observa- 
tions while it was thawing out, and the bits of tissue 
I cut and hardened then, I think it was native to a 
hotter planet than Earth. It couldn't, in its natural 
form, stand the temperature. There is no life-form 
on Earth that can live in Antarctica during the 
winter, but the best compromise is the dog. It 
found the dogs, and somehow got near enough to 
Charnauk to get him. The others smelled it — heard 
it — I don't know — anyway they went wild, and 
broke chains, and attacked it before it was finished. 
The thing we found was part Charnauk, queerly 
only half-dead, part Charnauk half-digested by the 
jellylike protoplasm of that creature, and part the 

"It can imitate 
anything— that is, 
become anything, if it 
had reached the Antarc- 
tic Sea, it would have 
become a seal, maybe 
two seals. They might 
have attacked a killer 
whale and become 
killers or a herd of seals." 

remains of the thing we originally found, sort of 
melted down to the basic protoplasm. 

"When the dogs attacked it, it turned into the 
best fighting thing it could think of. Some other- 
world beast apparently." 

"Turned," snapped Garry. "How?" 

"Every living thing is made up of jelly — proto- 
plasm and minute, submicroscopic things called 
nuclei, which control the bulk, the protoplasm. 
This thing was just a modification of that same 
worldwide plan of Nature; cells made up of pro- 
toplasm, controlled by infinitely tinier nuclei. You 
physicists might compare it — an individual cell of 
any living thing — with an atom; the bulk of the 
atom, the space-filling part, is made up of the elec- 
tron orbits, but the character of the thing is deter- 
mined by the atomic nucleus. 

"This isn't wildly beyond what we already 

know. It's just a modification we haven't seen 
before. It's as natural, as logical, as any other 
manifestation of life. It obeys exactly the same 
laws. The cells are made of protoplasm, their 
character determined by the nucleus. 

"Only in this creature, the cell-nuclei can control 
those cells at will. It digested Charnauk, and as it 
digested, studied every cell of his tissue, and shaped 
its own cells to imitate them exactly.. Parts of 
it — parts that had time to finish changing — are 
dog-cells. But they don't have dog-cell nuclei." 
Blair lifted a fraction of the tarpaulin. A torn dog's 
leg with stiff gray fur protruded. "That, for in- 
stance, isn't dog at all; it's imitation. Some parts 
I'm certain about; the nucleus was hiding itself, 
covering up with dog-cell imitation nucleus. In 
time, not even a microscope would have shown the 

"Suppose," asked Norris bitterly, "it had had 
lots of time?" 

"Then it would have been a dog. The other dogs - 
would have accepted it. We would have accepted it. 
I don't think anything would have distinguished it, 
not microscope, nor X-ray, nor any other means. 
This is a member of a supremely intelligent race, a 
race that has learned the deepest secrets of biology, 
and turned them to its use." 

"What was it planning to do?" Barclay looked 
at the humped tarpaulin. 

Blair grinned unpleasantly. The wavering halo 
of thin hair round his bald pate wavered in the stir 
of air. "Take over the 'world, I imagine." 

"Take over the world! Just it, all by itself?" 
Connant gasped. "Set itself up as a lone dictator?" 

"No," Blair shook his head. The scalpel he had 
been fumbling in his bony fingers dropped; he bent 
to pick it up, so that his face was hidden as he 
spoke. "It would become the population of the 

"Become — populate the world? Does it 
reproduce asexually?" 

Blair shook his head and gulped. "It's — it 
doesn't have to. It weighed 85 pounds. Charnauk 
weighed about 90. It would have become Char- 
nauk, and had 85 pounds left, to become — oh, 
Jack for insance, or Chinook. It can imitate 
anything — that is, become anything. If it had 
reached the Antarctic Sea, it would have become a 
seal, maybe two seals. They might have attacked a 
killer whale, and become either killers, or a herd of 
seals. Or maybe it would have caught an albatross, 
or a skua gull, and flown to South America." 

Norris cursed softly. "And every time, it 
digested something, and imitated it — " 

"It would have had its original bulk left, to start 
again," Blair finished. "Nothing would kill it. It 

STARLOGA/wne 1982 41 

has no natural enemies, because it becomes what- 
ever it wants to. If a killer whale attacked, it would 
become a killer whale. If it was an albatross, and an 
eagle attacked it, it would become an eagle. Lord, it 
might become a female eagle. Go back — build a 
nest and lay eggs!" 

"Are you sure that thing from hell is dead?" Dr. 
Copper asked softly. 

"Yes, thank Heaven," the little biologist 
gasped. "After they drove the dogs off, I stood 
there poking Bar's electrocution thing into it for 
five minutes. It's dead and— cooked." 

"Then we can only give thanks that this is An- 
tarctica, where there is not one, single, solitary, liv- 
ing thing for it to imitate, except these animals in 

"Us," Blair giggled. "It can imitate us. Dogs 
can't make 400 miles to the sea; there's no food. 

lay down on the floor crying. 

Chief Pilot Van Wall made a dive for the door. 
His feet were fading echoes in the corridors as Dr. 
Copper bent unhurriedly over the little man on the 
floor. From his office at the end of the room he 
brought something, and injected a solution into 
Blair's arm. "He might come out of it when he 
wakes up," he sighed rising. McReady helped him 
lift the biologist onto a near-by bunk. "It all 
depends on whether we can convince him that thing 
is dead." 

Van Wall ducked into the shack brushing his 
heavy blond beard absently. "I didn't think a 
biologist would do a thing like that up thoroughly. 
He missed the spares in the second cache. It's all 
right. I smashed them." 

Commander Garry nodded. "I was wondering 
about the radio." 

be so wholly, radically different that a few cells, 
such as gained by drops of blood, would be treated 
as disease germs by the dog, or human body." 

"Blood — would one of those imitations bleed? ' ' 
Norris demanded. 

"Surely. Nothing mystic about blood. Muscle is 
about 90 per cent water; blood differs only in hav- 
ing a couple per cent more water, and less connec- 
tive tissue. They'd bleed all right," Copper assured 

Blair sat up in his bunk suddenly. "Con- 
nant — where's Connant?" 

The physicist moved over toward the little 
biologist. "Here I am. What do you want?" 

"Are you?" giggled Blair. He lapsed back into 
the bunk contorted with silent laughter. 

Connant looked at him blankly "Huh? Am I 

'The thing we found was part Charnauk, queerly only half-dead, part Charnauk half-digested by the jellylike proto- 
plasms of that creature, and part the remains of the thing we originally found, 
sort of melted down to the basic protoplasm." 

There aren't any skua gulls to imitate at this season. 
There aren't any penguins this far inland. There's 
nothing that can reach the sea from this point— ex- 
cept us. We've got the brains. We can do it. Don't 
you see— it 's'got to imitate us — it 's got to be one of 
us — that 's the only way it can fly an airplane— fly a 
plane for two hours, and rule — be— all Earth 's in- 
habitants. A world for the taking—///'/ imitates us! 
"It didn't know yet. It hadn't had a chance to 
learn. It was rushed— hurried— took the thing 
nearest its own size. Look — I'm Pandora! I opened 
the box! And the only hope that can come out 
is — that nothing can come out. You didn't see me. I 
did it. I fixed it. I smashed every magneto. Not a 
plane can fly. Nothing can fly." Blair giggled and 

Dr. Copper snorted. "You don't think it can 
leak out on a radio wave, do you? You'd have five 
rescue attempts in the next three months if you stop 
the broadcasts. The thing to do is talk loud and not 
make a sound. Now I wonder — " 

McReady looked speculatively at the doctor. "It 
might be like an infectious disease. Everything that 
drank any of its blood — " 

Copper shook his head. "Blair missed some- 
thing. Imitate it may, but it has, to a certain extent, 
its own body-chemistry, its own metabolism. If it 
didn't it would become a dog — and be a dog and 
nothing more. It has to be an imitation dog. 
Therefore you can detect it by serum tests. And its 
chemistry, since it comes from another world, must 

"Are you there?" Blair burst into gales of 
laughter. "Are you Connant? The beast wanted to 
be a man — not a dog — " 


Dr. Copper rose wearily from the bunk, and 
washed the hypodermic carefully. The little tinkles 
it made seemed loud in the packed room, now that 
Blair's gurgling laughter had finally quieted. Cop- 
per looked toward Garry and shook his head slow- 
ly. "Hopeless, I'mafraid. I don't think we can ever 
convince him the thing is dead now." 

Norris laughed uncertainly. "I'm not sure you 

42 STARLOG/June 1982 

can convince me. Oh, damn you, McReady." 

"McReady?" Commander Garry turned to 
look from Norris to McReady curiously. 

"The nightmares," Norris explained. "He had a 
theory about the nightmares we had at the Secon- 
dary Station after finding that thing." 

"And that was?" Garry looked at McReady 

Norris answered for him, jerkily, uneasily. 
"That the creature wasn't dead, had a sort of enor- 
mously slowed existence, an existence that per- 
mitted it, none the less, to be vaguely aware of the 
passing of time, of our coming, after endless years. 
I had a dream it could imitate things." 
"Well," Copper grunted, "it can." 
"Don't be an ass," Norris snapped. "That's not 
what's bothering me. In the dream it could read 
minds, read thoughts and ideas and mannerisms." 
"What's so bad about that? It seems to be 
worrying you more than the thought of the joy 
we're going to have with a mad man in an Antarctic 
camp." Copper nodded toward Blair's sleeping 

McReady shook his great head slowly. "You 
know that Connant is Connant, because he not 
merely looks like Connant — which we're be- 
ginning to believe that beast might be able to 
do — but he thinks like Connant, talks like Con- 
nant, moves himself around as Connant does. That 
takes more than merely a body that looks like him; 
that takes Connant's own mind, and thoughts and 
mannerisms. Therefore, though you know that the 
thing might make itself look like Connant, you 
aren't much bothered, because you know it has a 
mind from another world, a totally unhuman 
mind, that couldn't possibly react and think and 
talk like a man we know, and do it so well as to fool 
us for a moment. The idea of the creature imitating 
one of us is fascinating, but unreal because it is too 
completely unhuman to deceive us. It doesn't have 
a human mind." 

"As I said before," Norris repeated, looking 
steadily at McReady, "you can say the damnedest 
things at the damnedest times. Will you be so good 
as to finish that thought — one way or the other?" 
Kinner, the scar-faced expedition cook, had 
been standing near Connant. Suddenly he moved 
down the length of the crowded room toward his 
familiar galley. He shook the ashes from the galley 
stove noisily. 

"It would do it no good," said Dr. Copper, soft- 
ly as though thinking out loud, "to merely look like 
something it was trying to imitate; it would have to 
understand its feelings, its reaction. It is unhuman; 
it has powers of imitation beyond any conception 
of man. A good actor, by training himself, can im- 
itate another man, another man's mannerisms, 
well enough to fool most people. Of course no ac- 
tor could imitate so perfectly as to deceive men who 
had been living with the imitated one in the com- 
plete lack of privacy of an Antarctic camp. That 
would take a super-human skill." 

"Oh, you've got the bug too?" Norris cursed 

Connant, standing alone at one end of the room, 
looked about him wildly, his face white. A gentle 
eddying of the men had crowded them slowly down 
toward the other end of the room, so that he stood 
quitealone. "MyGod, will you two Jeremiahs shut 
up?" Connant's voice shook. "What am I? Some 
kind of a microscopic specimen you're dissecting? 
Some unpleasant worm you're discussing in the 
third person?" 

McReady looked up at him; his slowly twisting 
hand stopped for a moment. "Having a lovely 
time. Wish you were here. Signed: Everybody. 

' 'Connant, if you think you're having a hell of a 
time, just move over on the other end for a while. 
You've got one thing we haven't; you know what 
the answer is. I'll tell you this, right now you're the 

most feared and respected man in Big Magnet." 

"Lord, I wish you could see your eyes," Con- 
nant gasped. "Stop staring, will you! What the hell 
are you going to do?" 

"Have you any suggestions, Dr. Copper?" 
Commander Garry asked steadily. "The present 
situtation is impossible." 

"Oh, is it?" Connant snapped. "Come over 
here and look at that crowd. By Heaven, they look 
exactly like that gang of huskies around the cor- 
rider bend. Benning, will you stop hefting that 
damned ice-ax?" 

The coppery blade rang on the floor as the avia- 
tion mechanic nervously dropped it. He bent over 
and picked it up instantly, hefting it slowly, turning 
it in his hands, his browns eyes moving jerkily 
about the room. 

Copper sat down on the bunk beside Blair. The 
wood creaked noisily in the room. Far down a cor- 
ridor, a dog yelped in pain, and the dogdrivers' 
tense voices floated softly back. "Microscopic ex- 
amination," said the doctor thoughtfully, "would 
be useless, as Blair pointed out. Considerable time 
has passed. However, serum tests would be 

"Serum tests? What do you mean exactly?" 
Commander Garry asked. 

"If I had a rabbit that had been injected with 
human blood — a poison to rabbits, of course, as is 

"its got to imitate 

us— it's got to be 

one of us— that's the 

only way it can fly an 

airplane. Fly a plane 

for two hours, and 

rule, be, all Earth's in- 


the blood of any animal save that of another rab- 
bit — and the injections continued in increasing 
doses for some time, the rabbit would be human- 
immune. If a small quantity of its blood were 
drawn off, allowed to separate in a test-tube, and to 
the clear serum, a bit of human blood were added, 
there would be a visible reaction, proving the blood 
was human. If cow, or dog biood were added — or 
any protein material other than that one thing, 
human blood — no reaction would take place. That 
would prove definitely." 

"Can you suggest where I might catch a rabbit 
for you, Doc?" Norris asked. "That is, nearer than 
Australia; we don't want to waste time going that 

"I know there aren't any rabbits in Antarctica," 
Copper nodded, "but that is simply the usual 
animal. Any animal except man will do. A dog for 
instance. But it will take several days, and due to 
the greater size of the animal, considerable blood. 
Two of us will have to contribute." 

"Would I do?" Garry asked. 

"That will make two," Copper nodded. "I'll get 
to work on it right away." 

"What about Connant in the meantime?" Kin- 
ner demanded. "I'm going out that door and head 
off for the Ross Sea before I cook for him." 

"He may be human — " Copper started. 

Connant burst out in a flood of curses. 
"Human! May be human, you damned saw- 

bones! What in hell do you think I am?" 

"A monster," Copper snapped sharply. "Now 
shut up and listen." Connant's face drained of col- 
or and he sat down heavily as the indictment was 
put in words. "Until we know — you know as well 
as we do that we have reason to question the fact, 
and only you know how that question is to be 
answered — we may reasonably be expected to lock 
you up. If you are — unhuman — you're a lot more 
dangerous than poor Blair there, and I'm going to 
see that he's locked up thoroughly. I expect that his 
next stage will be a violent desire to kill you, all the 
dogs, and probably all of us. When he wakes, he 
will be convinced we're all unhuman, and nothing 
on the planet will ever change his conviction. It 
would be kinder to let him die, but we can't do that, 
of course. He's going in one shack, and you can 
stay in Cosmos House with your cosmic ray ap- 
paratus. Which is about what you'd do anyway. 
I've got to fix up a couple of dogs." 

Connant nodded bitterly. "I'm human. Hurry 
that test. Your eyes — Lord, I wish you could see 
your eyes staring — " 

Commander Garry watched anxiously as Clark, 
the doghandler, held the big brown Alaskan husky, 
while Copper began the injection treatment. The 
dog was not anxious to cooperate; the needle was 
painful, and already he'd experienced considerable 
needle work that morning. Five stitches held closed 
a slash that ran from his shoulder across the ribs 
half way down his body. One long fang was broken 
off short; the missing part was to be found half- 
buried in the shoulder bone of the monstrous thing 
on the table in the Ad Building. 

"How long will that take?" Garry asked, press- 
ing his arm gently. It was sore from the prick of the 
needle Dr. Copper had used to withdraw blood. 

Copper shrugged. "I don't know, to be frank. I 
know the general method, I've used it on rabbits. 
But I haven't experimented with dogs. They're big, 
clumsy animals to work with; naturally rabbits are 
preferable, and serve ordinarily. In civilized places 
you can buy a stock of human-immune rabbits 
from suppliers, and not many investigators take the 
trouble to prepare their own." 

"What do they want with them back there?" 
Clark asked. 

"Crimonology is one large field. A says he didn't 
murder B, but that the blood on his shirt came from 
killing a chicken. The State makes a test, then it's 
up to A to explain how it is the blood reacts on 
human-immune rabbits, but not on chicken- 

" What are we going to do with Blair in the mean- 
time?" Garry asked wearily. "It's all right to let 
him sleep where he is for a while, but when he 
wakes up — " 

"Barclay and Benning are fitting some bolts on 
the door of Cosmos House," Copper replied grim- 
ly. "Connant's acting like a gentleman. I think 
perhaps the way the other men look at him makes 
him rather want privacy. Lord knows, heretofore 
we've all of us individually prayed for a little 

Clark laughed bitterly. "Not any more, thank 
you. The more the merrier." 

"Blair," Copper went on, "will also have to 
have privacy — and locks. He's going to have a pret- 
ty definite plan in mind when he wakes up. Ever 
hear the old story of how to stop hoof-and-mouth 
disease in cattle?" 

"If there isn't any hoof-and-mouth disease, 
there won't be any hoof-and-mouth disease," 
Copper explained. "You get rid of it by killing 
every animal that exhibits it, and every animal 
that's been near the diseased animal. Blair's a 
biologist, and knows that story. He's afraid of this 
thing we loosed. The answer is probably pretty 
clear in his mind now. Kill everybody and 
everything in this camp before a skua gull or a 

<;ta di rii"./ 7,, 

wandering albatross coming in with the spring 
chances out this way and— catches the disease." 

Clark's lips curled in a twisted grin. "Sounds 
logical to me. If things get too bad— maybe we'd 
better let Blair get loose. It would save us com- 
miting suicide. We might also make something of a 
vow that if things get bad, we see that that does 

Copper laughed softly. "The last man alive in 
Big Magnet— wouldn't be a man," he pointed out. 
"Somebody's got to kill those— creatures that 
don't desire to kill themselves, you know. We don't 
have enough thermite to do it all at once, and the 
decanite explosive wouldn't help much. I have an 
idea that even small pieces of one of those beings 
would be self-sufficient." 

"If," said Garry thoughtfully, "they can modify 
their protoplasm at will, won't they simply modify 
themselves to birds and fly away? They can read all 
about birds, and imitate their structure without 
even meeting them. Or imitate, perhaps, birds of 
their home planet." 

Copper shook his head, and helped Clark to free 
thedog. "Man studied birds for centuries, trying to 

learn how to make a machine to fly like them. He 
never did do the trick; his final success came when 
he broke away entirely and tried new methods. 
Knowing the general idea, and knowing the detail- 
ed structure of wing and bone and nerve-tissue is 
something far, far different. And as for other- 
world birds, perhaps, in fact very probably, the at- 
mospheric conditions here are so vastly different 
that their birds couldn't fly. Perhaps, even, the be- 
ing came from a planet like Mars with such a thin 
atmosphere that there were no birds." 

Barclay came into the building, trailing a length 
of airplane control cable. "It's finished, Doc. 
Cosmo House can't be opened from the inside. 
Now where do we put Blair?" 

Copper looked toward Garry. "There wasn't 
any biology building. I don't know where we can 
isolate him." 

"How about East Cache?" Garry said after a 
moment's thought. "Will Blair be able to look 
after himself— or need attention?" 

"He'll be capable enough. We'll be the ones to 
watch out," Copper assured him grimly. "Take a 
stove, a couple of bags of coal, necesary supplies 

"I don't want anybody coming here. I'll cook my own food. Kinner may be human 
now, but I don't believe it. I want cans. Sealed cans." "O.K. Blair, we'll bring 'em 
tonight," Barclay promised. Blair instantly scurried to the farthest corner. "Get 
out! Keep away from me you monster! I won't be absorbed!" 

and a few tools to fix it up. Nobody's been out there 
since last fall, have they?" 

Garry shook his head. "If he gets noisy— I 
thought that might be a good idea." 

Barclay hefted the tools he was carrying and 
looked up at Garry. "If the muttering he's doing 
now is any sign, he's going to sing away the night 
hours. And we won't like his song." 
"What's he saying?" Copper asked. 
Barclay shook his head. "I didn't care to listen 
much. You can if you want to. But I gathered that 
the blasted idiot had all the dreams McReady had, 
and a few more. He slept beside the thing when we 
stopped on the trail coming in from Secondary 
Magnetic, remember. He dreamt the thing was 
alive, and dreamt more details. And— damn his 
soul— knew it wasn't all dream, or had reason to. 
He knew it had telepathic powers that were stirring 
vaguely, and that it could not only read minds, but 
project thoughts. They weren't dreams, you see. 
They were stray thoughts that thing was broad- 
casting, the way Blair's broadcasting his thoughts 
now — a sort of telepathic muttering in its sleep. 
That's why he knew so much about its powers. I 
guess you and I, Doc, weren't so sensitive — if you 
want to believe in telepathy." 

"I have to," Copper sighed. "Dr. Rhine of 
Duke University has shown that it exists, shown 
that some are much more sensitive than others." 
"Well, if you want to learn a lot of details, go 
listen in on Blair's broadcast. He's driven most of 
the boys out of the Ad Building; Kiner's rattling 
pans like coal going down a chute. When he can't 
rattle a pan, he shakes ashes. 

' 'By the way, Commander, what are we going to 
do this spring, now the planes are out of it?" 

Garry sighed. "I'm afraid our expedition is go- 
ing to be a loss. We cannot divide our strength 

"It won't be a loss — if we continue to live, and 
come out of this," Copper promised him. "The 
find we've made, if we can get it under control, is 
important enough. The cosmic ray data, magnetic 
work, and atmospheric work won't be greatly 

Garry laughed mirthlessly. "I was just thinking 
of the radio broadcasts. Telling half the world 
about the wonderful results of our exploration 
flights, trying to fool men like Byrd and Ellsworth 
back home there that we're doing something." 

Copper nodded gravely. "They'll know 
something's wrong. But men like that have judg- 
ment enough to know we wouldn't do tricks 
without some sort of reason, and will wait for our 
return to judge us . I think it comes to this : men who 
know enough to recognize our deception will wait 
for our return. Men who haven't discretion and 
faith enough to wait will not have the experience to 
detect any fraud. We know enough of the condi- 
tions here to put through a good bluff." 

"Just so they don't send 'rescue' expeditions," 
Garry prayed. "When— if— we're ever ready to 
come out, we'll have to send word to Captain For- 
sythe to bring a stock of magnetos with him when 
he comes down. But— never mind that." 

"You mean if we don't come out?" asked 
Barclay. "I was wondering if a nice running ac- 
count of an eruption or an earthquake via 
radio — with a swell windup by using a stick of 
decanite under the microphone— would help. 
Nothing, of course, will entirely keep people out. 
One of those swell, melodramatic 'last-man-alive- 
scenes' might make 'em go easy though." 

Garry smiled with genuine humor. "Is 

everybody in camp trying to figure that out too?" 

Copper laughed. "What do you think, Garry? 

We're confident we can win out. But not too easy 

about it, I guess." 

Clark grinned up from the dog he was petting in- 
to calmness. "Confident, did you say, Doc?" 

44 STARLOG/June 1982 


Blair moved restlessly around the small shack. 
His eyes jerked and quivered in vague, fleeting 
glances at the four men with him; Barclay, six feet 
tall and weighing over 190 pounds; McReady, a 
bronze giant of a man; Dr. Copper, short, squatly 
powerful; arid Benning, five-feet-ten of wiry 

Blair was huddled up against the far wall of the 
East Cache cabin, his gear piled in the middle of the 
floor beside the heating stove, forming an island 
between him and the four men. His bony hands 
clenched and fluttered, terrified. His pale eyes 
wavered uneasily as his bald, freckled head darted 
about in birdlike motion. 

"I don't want anybody coming here. I'll cook 
my own food," he snapped nervously. "Kinner 
may be human now, but I don't believe it. I'm go- 
ing to get out of here, but I'm not going to eat any 
food you send me. I want cans. Sealed cans." 

"O.K., Blair, we'll bring 'em tonight," Barclay 
promised. "You've got coal, and the fire's started. 
I'll make a last" — Barclay started forward. 

Blair instantly scurried to the farthest corner. 
"Get out! Keep away from me, you monster!" the 
little biologist shrieked, and tried to claw his way 
through the wall of the shack. "Keep away from 
me — keep away — I won't be absorbed — I won't 

Barclay relaxed and moved back. Dr. Copper 
shook his head. "Leave him alone, Bar. It's easier 
for him to fix the thing himself. We'll have to fix 
the door, I think — " 

The four men let themselves out. Efficiently, 
Benning and Barclay fell to work. There were no 
locks in Antarctica; there wasn't enough privacy to 
make them needed. But powerful screws had been 
driven in each side of the door frame, and the spare 
aviation control cable, immensely strong, woven 
steel wire, was rapidly caught between them, and 
drawn taut. Barclay went to work with a drill and a 
keyhole saw. Presently he had a trap cut in the door 
through which goods could be passed without 
unlashing the entrance. Three powerful hinges 
from a stock-crate, two hasps and a pair of three- 
inch cotter-pins made it proof against opening 
from the other side. 

Blair moved about restlessly inside. He was 
dragging something over to the door with panting 
gasps and muttering, frantic curses. Barclay open- 
ed the hatch and glanced in, Dr. Copper peering 
over his shoulder. Blair had moved the heavy bunk 
against the door. It could not be opened without his 
cooperation now. 

"Don't know but what the poor man's right at 
that," McReady sighed. "If he gets loose, it is his 
avowed intention to kill each and all of us as quick- 
ly as possible, which is something we don't agree 
with. But we've something on our side of that door 
that is worse than a homicidal maniac. If one or the 
other has to get loose, I think I'll come up and undo 
those lashings here." 

Barclay grinned. "You let me know, and I'll 
show you how to get these off fast. Let's go back." 

The sun was painting the northern horizon in 
multi-colored rainbows still, though it was two 
hours below the horizon. The field of drift swept 
off to the north, sparkling under its flaming colors 
in a million reflected glories. Low mounds of 
rounded white on the northern horizon showed the 
Magnet Range was barely awash above the sweep- 
ing drift. Little eddies of wind-lifted snow swirled 
away from their skis as they set out toward the main 
encampment two miles away. The spidery finger of 
the broadcast radiator lifted a gaunt black needle 
against the white of the Antarctic continent. The 
snow under their skies was like fine sand, hard and 

"Spring, "said Benning bitterly, "is come. Ain't 

we got fun! I've been looking forward to getting 
away from this blasted hole in the ice." 

"I wouldn't try it now, if I were you." Barclay 

grunted. "Guys that set out from here in the next 

few days are going to be marvelously unpopular." 

"How is your dog getting along, Dr. Copper?" 

McReady asked. "Any results yet?" 

"In 30 hours? I wish there were. I gave him an in- 
jection of my blood today. But I imagine another 
five days will be needed. I don't know certainly 
enough to stop sooner." 

"I've been wondering — if Connant were — 
changed, would he have warned us so soon after 
the animal escaped? Wouldn't he have waited long 
enough for it to have a real chance to fix itself? 
Unless we woke up naturally?" McReady asked 

"The thing is selfish. You didn't think it looked 
as though it were possessed of a store of the higher 
justices, did you?" Dr. Copper pointed out. 
"Every part of it is all of it, every part of it is all for 
itself, I imagine. If Connant were changed, to save 
his skin, he'd have to — but Connant's feelings 
aren't changed; they're imitated perfectly, or 
they're his own. Naturally, the imitation, imitating 
perfectly Connant's feelings, would do exactly 
what Connant would do." 

"Say, couldn't Norris or Van give Connant 
some kind of a test? If the thing is brighter than 
men, it might know more physics than Connant 
should, and they'd catch it out," Barclay sug- 

Copper shook his head wearily. "Not if it reads 
minds. You can't plan a trap for it. Van suggested 
that last night. He hoped it would answer some of 
the questions of physics he'd like to know answers 

"This expedition-of-four idea is going to make 
life happy." Benning looked at his companions. 
"Each of us with an eye on the others to make sure 
he doesn't do something — peculiar. Man, aren't 
we going to be a trusting bunch! Each man eyeing 
his neighbors with the grandest exhibition of faith 
and trust — I'm beginning to know what Connant 
meant by 'I- wish you could see your eyes.' Every 
now and then we all have it, I guess. One of you 
looks around with a sort of 'I-wonder-if-the-other- 
/Aree-are-look." Incidentally, I'm not excepting 

"So far as we know, the animal is dead, with a 
slight question as to Connant. No other is 
suspected," McReady stated slowly. "The 
'always-four' order is merely a precautionary 

"I'm waiting for Garry to make it four-in-a- 
bunk," Barclay sighed. "I thought I didn't have 
any privacy before, but since that order — " 

None watched more tensely than Connant. A lit- 
tle sterile glass test-tube, half-filled with straw- 
colored fluid. One — two — three — four — five 
drops of the clear solution Dr. Copper had 
prepared from the drops of blood from Connant's 
arm. The tube was shaken carefully, then set in a 
beaker of clear, warm water. The thermometer 
read blood heat, a little thermostat clicked noisily, 
and the electric hotplate began to glow as the lights 
flickered slightly. 

Then — little white flecks of precipitation were 
forming, snowing down in the clear straw-colored 
fluid. "Lord," said Connant. He dropped heavily 
into a bunk, crying like a baby. "Six days — ' ' Con- 
nant sobbed, "six days in there — wondering if that 
damned test would lie — " 

Garry moved over silently, and slipped his arm 
across the physicist's back. 

"It couldn't lie," Dr. Copper said, "The dog 
was human-immune— and the serum reacted." 

"He's— all right?" Norris gasped. "Then— the 
animal is dead— dead forever?" 

"He is human," Copper spoke definitely, "and 

the animal is dead." 

Kinner burst out laughing, laughing hysterically. 
McReady turned toward him and slapped his face 
with a methodical one-two, one-two action. The 
cook laughed, gulped, cried a moment, and sat up 
rubbing his cheeks, mumbling his thanks vaguely. 
"I was scared. Lord, I was scared — " 

Norris laughed bitterly. "You think we weren't, 
you ape? You think maybe Connant wasn't?" 

The Ad Building stirred with a sudden rejuvena- 
tion. Voices laughed, the men clustering around 
Connant spoke with unnecessarily loud voices, jit- 
tery, nervous voices relievedly friendly again. 
Somebody called out a suggestion, and a dozen 
started for their skis. Blair. Blair might 
recover— Dr. Copper fussed with his test-tubes in 
nervous relief, trying solutions. The party of relief 
for Blair's shack started out the door, skis clapping 
noisily. Down the corridor, the dogs set up a quick 
yelping howl as the air of excited relief reached 

Dr. Copper fussed with his tubes. McReady 
noticed him first, sitting on the edge of the bunk, 
with two precipitin-whitened test-tubes of straw- 
colored fluid, his face whiter than the stuff in the 
tubes, silent tears slipping down from horror- 
widened eyes. 

McReady felt a cold knife of fear pierce through 
his heart and freeze in his breast. Dr. Copper look- 
ed up. 

"Garry," he called hoarsely. "Garry, for God's 
sake, come here." 

Commander Garry walked toward him sharply. 
Silence clapped down on the Ad Building. Connant 
looked up, rose stiffly from his seat. 

"Garry — tissue from the monster — precipitates 
too. It proves nothing. Nothing but — but the dog 
was monster-immune too. That one of the two con- 
tributing blood— one of us two, you and I, Garry 
— one of us is a monster." 

To Be Concluded: Next issue, 
in our 100-page 6th anniver- 
sary spectacular, we present 
the awesome conclusion to 

"Who Goes 

STARLOG/7une 1982 45 


By Bjo Trimble 

My Part in the second 
"Star Trek" Film 

The first knowledge I had that the sec- 
ond Star Trek movie was a "go" was a 
phone call from Mr. Harve Bennett. 
Actually, of course, one never gets a call di- 
rectly from someone of his status; one gets a 
nice secretary's voice saying, "Mrs. Trimble? 
Mr. Harve Bennett on the phone; will you 
hold?!!" leaving you with scrambled 
thoughts while the call is transferred to Mr. 
Bennett in person. 

A warm, friendly, personable voice came 
over the phone, introducing himself as the 
new Executive Producer of the Star Trek 
movie. I said something intelligent like 
"uh. . !" and waited to find out why he was 
calling me. It was forthcoming: "I feel rather 
like a Freedom Fighter being dropped by par- 
achute into Poland to help the 
Underground," he said, "and only on the 
way down do I remember that I don't speak 
Polish!" He spoke, however, of his desire to 
produce a ST film which was "the old Star 
' Trek" the fans would love as much as would 
the ordinary movie-going public. ' 'So I found 
my Polish-English dictionary," he con- 
tinued, "it's your book, The Star Trek Con- 
cordance, which I borrowed from Gene Rod- 
denberry. But he wants his copy back, and I 

can't find it in any of the book stores " 

"It's out of print," I said. (WOW. I was 
thinking to myself: WOWEE!) 

"So, I was wondering if you had an extra 
copy I could buy? " he finished . I was down to 
my last three copies of the book, but he could 
certainly have one if it would help make a 
movie we would all love as much as the old 
TV series! 

"Oh, and I was wondering if you would 
mind reading the script," said Mr. Bennett, 
"and letting us know if we've made any 
serious gaffes?" CROGGLE! I allowed as 
how it would probably be a good idea, trying 
to be calm, cool, sophisticated and all that 
jazz. "Fine, I'll send a messenger over with 
the script right away," he said. 

There was probably more conversation, 
but I have no idea what was said. My little 
brain had turned to Jell-0 at the idea of being 
able to read the script! I was told it could not 
be discussed, or any of the plot revealed, to 
which I naturally agreed. 

When the call was over, I loudly went ba- 
nanas around the house, startling the cats and 
causing John to ask me if I wanted to run off 
all that energy around the block. The messen- 
ger arrived with the script, and I sat down, 
Concordance in hand, to read it. John 

46 ST\RLOG/June 1982 

sighed, and went to fix dinner (he's a doll!). 

Most of my notes were of the "Scotty 
wouldn't say that" and "nobody would do 
that in that manner' ' sort of nitpicking things 
fans look for. The script certainly was uni- 
que, with some very different and startling 
plot ideas (many of which have already been 
"leaked' ' to the public either by other visiting 
fans to the movie set, by professional journal- 
ists or by the publicity department itself)- I 
liked most of what I read, and said so. The 
critique covered around 18 pages, with 
references to the pages of the Concordance 
which proved or disproved certain points. 

I delivered my book and the notes the next 
day to Harve Bennett and met the Line Pro- 
ducer of the film, Mr. Robert Sallin. Though 
both men were very busy, they spent a little 
time talking to me, and getting some view- 

l suggested that 
perhaps I could be 
listed on the film cred- 
its as "Rock Consultant" 
or perhaps "Geology 
Expert" or at least my 
rock could get credit as 

being from "The 
Fabulous Trimble Rock 

Collection" . . . 

points about the old TV series from a fan's 
eyes. It impressed me that they were willing to 
listen, willing to learn (even from a fan) about 
how to make this Star Trek movie something 
to enjoy. 

There was discussion on several plot turns 
and the production office wondered how 
fans would react. It was my stated opinion 
(still is) that fans will not be able to en masse 
stay away from a new ST movie, no matter 
what happens, and that most of them will 
have to see it, just to find out if "it's really 

true that " At this point, I did not have 

any discussion with Gene Roddenberry on 
the script, though I knew he had several dis- 
agreements with the plot turns. 

Gene, it seemed, was not working on the 
film at all, except in the capacity of advisor. It 
must have been a pang to see the child of his 
creation in the hands of others, and as a fel- 

low Leo who dislikes delegating authority, I 
can appreciate how he must have felt. But 
Star Trek has grown far beyond any one per- 
son now; perhaps even its creator. And GR 
has grown far beyond ST, going on to pro- 
jects which can be stymied only by the myopic 
eyes usually held by the money-people in 

One thing I particularly liked about the 
new script was that Walter Koenig as Chekov 
got a far larger part than he usually had; with 
some scope to present himself as the good ac- 
tor he is. When I talked to him on the set, he 
wondered how the fans would like him in the 
new movie. I pointed out that since his ac- 
tions were the crux of the developing plot, 
fans would be wondering where he was and 
what he was doing, even when he was not on 
the screen! 

One thing I did not particularly like about 
the new script was that nobody else on the 
bridge had moved foward; George Takei as 
Mr. Sulu is still a "galactic bus-driver" and 
poor Uhura (stunning in her new uniform, 
however!) is still answering the switchboard! 
I did think it would have taken very little 
imagination to work in a tad more inventive 
action for these worthies, but I'm not the one 
producing the film (and that's too bad, too!) I 
guess Dr. McCoy, being a tolerably unambi- 
tious person, would not think of advance- 
ment, and Scotty would be perfectly happy 
with his "bairns" in the engine room. But I 
cannot think that a liberated female would be 
happy saying "All hailing frequencies open" 
(or its equivalent) for very many more 
movies! And I know George was unhappy 
about the small role he was given in this film; 
he made no bones about that, in fact. 

The production office wanted to know if 
fans would be annoyed at yet another uni- 
form change for the Enterprise; Mr. Bennett 
did not want to have an all-grey crew on an 
all-grey ship again! Since it is another oppor- 
tunity for more costumes, I did not think fans 
would be pushed out of shape by the new uni- 
forms. When I saw them, I thought Bob Jeff- 
erson did a really nice j ob of making color se- 
lections which looked good on everyone, as 
well as uniform designs which made all the 
crew look terrific. (Naturally, there will be 
those who disagree with this; clothing of any 
kind is purely a matter of personal taste.) 

At this point, I kiddingly told Mr. Sallin 
that I wanted my name on the credits as "fan 
consultant" and he said that it could go up in 
big letters, just under his name! This was a 

wry comment on the fact that though the film 
had been announced, and even some of the 
stars had been signed, nobody in Publicity 
thought it worthwhile to tell the world that 
Mr. Robert Sallin was even working on the 

I was told I could visit the set (except when 
it was closed to everyone) any time I wished. 
You'd think with an invitation like that, I'd 
set up camp outside Stage 10, but events con- 
spired against me. The Trimbles had been 
j ob-hunting (" Sorry , you ' re over-qualified , ' ' 
"Sorry, not hiring. . . ") for some months, so 
we just did not have the time to devote to even 
so absorbing a hobby as visiting the set of our 
favorite subject, Star Trek. 

When I did visit, everything was the usual 
organized chaos seen on a well-run set. Nich- 
olas Meyer, the Director, turned out to be a 
short, energetic, cigar-smoking man who 
looks as if he'll celebrate his 1 4th birthday any 
week now. I never found him with a moment 
to spare, and so never introduced myself to 
him; between shots he was often talking to 
Important People or friends in the industry. 
It was fascinating (to coin a phrase) to watch 
him work; he can draw the best out of people 
and make an entire crew work together as a 
well-organized team. I felt that his former 
credits, Time After Time and Seven Percent 
Solution, gave everyone confidence that he 
would make a competent Star Trek film, with 
the sensitivity lacking in ST-TMP. 

Nichelle Nichols was even more enthusias- 
tic; "It's the old Star Trek," she said, "with 
real people in it!" 

Watching her, I still harbor the suspicion 
that Nichelle has this painting in her attic, see, 
because there is no other way she can look so 
young and pretty and diminutive in person! 

My contributions to the new Star Trek 
movie did not stop with "consultation" on 
the script (which they may or may not have 
used) . Being ' 'the fan center of the Universe" 
I get strange phone calls but the strangest one 
lately was from Paramount Studios, asking if 
I knew where to obtain a Star Trek TV series 
phaser! "Don't you have one?" Icroggled. 

Seems the prop department for the new ST 
movie did not have any of the old TV props 
and they wanted to see a hand phaser; some- 
one On High thought it might be nice to have 
them in the movie. I pointed out that if 
anyone had a prop phaser from the TV show 
it was probably illegal to have it in their collec- 
tion (I should add that I do not collect STpar- 
aphenalia myself, but of course know fans 
who do). I could more likely find a fan-copied 
phaser, but again, I didn't want any legal re- 
percussions if I brought such an item in. They 

A few phone calls later, I had a phaser and 
a "drive-on" pass to the studio. The prop de- 
partment on Stage 10 was filled with wonder- 
ful electronic gadgets that glowed and ro- 
tated! The little balsa- wood phaser from an 
old TV show looked dinky and dated. The 
propmen thought so, too, and handed it back 
to me with thanks. A few days later, they ask- 
ed for a communicator from the TV show; 
seems the same Higher Up decided that the 

new movie did not need wrist communicators 
(speaking as an extra who wore one, I can on- 
ly agree!). Again a few phone calls; again a 
quick trip to Paramount to show the prop- 
men what the old communicator was like. 
And again they rejected it as being too dated 
and not what they wanted for the film. 

By this time, I was spending more time run- 
ning errands for the movie than visiting the 
set! Understand that all during this, I was not 
being paid by Paramount; all this was done 
for the love of Star Trek. It was also a sort of 
therapy for having to go on job interviews 
where my qualifications (or lack thereof) 
were paraded past uncaring clots. Those in- 
teresting moments of tracking down items for 
Star Trek gave me something more construc- 
tive to do than sit in employment offices, 
reading stupid movie magazines! 

At one point, I had the happy idea of doing 
a newsletter during the film's production, to 
which fans could subscribe. I'd be able to 
write up interesting little tidbits of near-infor- 
mation, without even once hinting at the plot, 
but still give the fans something besides 
rumors to read. I worked up a rough layout 
of the idea, and presented it to Paramount; it 
was bounced back at the speed of sound! No 
way was I going to be allowed to write from 
the set, or write about anything concerning 
the movie! Even with the offer to allow Para- 
mount to double-check everything I wrote 
before it was published, they wouldn't allow 
me to do this. Sigh . . . ! 

"Besides," one person told me, "there 
aren't enough Star Trek fans out there who'd 
pay for a newsletter; it'd cost them at least $ 10 
or $15 for a year's worth of publications, for 
you to make any money off it. Who'd pay for 
that?" ■ 

Well, I'd be a good little writer, and after 
all the dust settled, then I hoped I'd have 
several good articles for STARLOG (or other 
publications) as well as some interviews. So I 
bided my time, hoping for the chance when I 
could write something creative about ST. 

In the meantime, feeding only on rumors, 
the fans were getting restless and slightly hys- 
terical. Both Bennett's and Sallin's secretaries 
began to take a very jaundiced view of ST 
fandom. I tried to explain that only the really 
"dippie" ones got shrill enough to call the 
studio, screaming invectives at poor secretar- 
ies; that they were the only ones who wrote 
scathing letters (which are only read by secre- 
taries, who do not pass this sort of thing on to 
bosses — that is what secretaries are paid for, 
see. . .). I tried to tell these ladies that there 
were many good, sincere, loving and kindly 
Star Trek fans Out There who were waiting 
patiently to see if they were finally to get a 
good movie. 

However, that is difficult to believe, when 
your desk is filled with hate mail! 

My last contribution to the new Star Trek 
film can only be called monumental or at least 
outstanding. You might even say my contri- 
bution has all the makings of a good rock 
star! No, not another April Fool column, but 
a real-life event. 

One day, at Paramount, I dropped into the 

Star Trek art office to see Mike Minor and 
found him surrounded by scattered sheets of 
paper and several Arizona Highways maga- 
zines, opened to pictures of weathered rock 
canyons. He was trying to design the walls of 
an alien world tunnel, leading to a large set, 
and he was thoroughly unhappy with the re- 
sults he'd gotten so far. Art Director Joe Jen- 
nings was sympathetic but was offering no 
constructive ideas, either. 

The tunnel was supposed to lead into a 
large cave, but they wanted something really 
unusual. Mike did not want the standard 
spray-painted strata of ordinary movie caves, 
but he was aware that the weathered rocks in 
the magazine photos were not what he 
wanted, either. He needed the inside con- 
struction of real rock . I suggested returning to 
my house to pick up a supply of slabs; I'm a 
rockhound with a houseful (garageful, base- 
mentful) of gems and minerals, including cut 
slabs of rock for lapidary work. 

Since both men thought it worth a try, and 
I live only a mile from Paramount, I returned 
with some "crazy-lace" agate, chert, a piece 
of copper-carbonate (trace malachite and 
lapis, with chrysocolla and turquoise), and a 
few other choice slabs. The crazy-lace was 
chosen, and either Mike or Mr. Jennings car- 
ried that slab around in their pockets for days 
afterwards, dragging it out to check the 
design against the tunnel walls and the cave 

That was in itself a major project: the en- 
trance was a large volcanic bubble burst open 
and they made it by inflating a half-dome and 
spraying it with fibreglas. When it was set, 
they turned the 50-foot-wide half-dome on its 
side (carefully!) and began the painting on the 
inside, copying the crazy-lace agate design in 
gigantic proportions. I was not allowed to see 
them turn the bubble over; it was too danger- 
ous to allow anyone not working for Para- 
mount into the stage. 

The finished product was stunning; it 
should look simply beautiful in the film. I 
talked to some of the Industrial Light & 
Magic people, whose job it will be to match 
the cave entrance with matte-shots and other 
special effects, and they were impressed with 
the beautiful job. It is a rock formation, no 
doubt about that, but nothing you've ever 
seen on this planet! 

I suggested that perhaps I could be listed on 
the film credits as "Rock Consultant" or per- 
haps "Geology Expert" or at least my rock 
could get credit as being from "The Fabulous 
Trimble Rock Collection" but everyone 
laughed. Oh well, that's Hollywood * 

BEST LAID PLANS DEPT: Mavcon 82, Dallas, 
TX, which was to be held this April, has been 
moved to an unannounced date in the Fall, due to a 
conflicting scheduling of a professional conven- 
tion. I am still a Guest for Mavcon, whenever they 
hold it. I will not be at Okon, Tulsa OK due to per- 
sonal conflicting schedule. I will be at Westercon, 
Phoenix AZ; at Chicon IV, Chicago, IL; at Salt 
Lake Con in Sept. so look me up and let's get 

STARLOG/./i/ne 1982 47 


Series Edited by David Hutchison 


Effects Careers in Retrospect #1 

David s. Horsley, ASC 

It used to be that an effects technician 
working for a major studio would rise to 
the position of department head, then 
contribute virtually nothing to a film's input 
as an artist or innovator. Rather, he would be 
mainly concerned with the overseeing of per- 
sonnel while trying to abort cost overruns. 
Screen credit was automatic, with no alms for 
those who actually did the work. Although 
this could easily be taken as a blanket indict- 
ment of old-school studio politics, few in the 
business could deny its resounding ring of 

Things have changed. With the advent of 
Star Wars and the emergence of a new 
generation of effects artists, screen credit is 
given to matte painters, modelmakers, shop 
supervisors, and the ambient banner of One 
Name no longer carries the clout it did to a 
technically conscious public. Only a few 
studios today give solo billing to an individual 
whose input is extraordinary, as it is, for ex- 
ample with Universal and Albert Whitlock. 
Large studio effects operations are taking a 
back seat to smaller, tightly knit in-house 
facilities, where quality control is paramount 
and room is made for experimentation. 

This wasn't so in the fifties and sixties. Nor 
did one-name billing apply only to special ef- 
fects. Such many-peopled departments as art 
direction suffered from the system. Re- 
marked Eugene Lourie, French designer and 
director of The Beast From 20, 000 Fathoms, 
with amusing candor: "Before I came to 
Hollywood, whenever I saw the name of Van 
Nest Polglase on the credits of RKO movies, I 
thought it was Polglase who designed the sets 
himself. I thought that Cedric Gibbons made 
all those pictures at MGM, and Hans Dreir at 
Paramount. I didn't know that they were 
department heads." 

There were exceptions, though. During his 
nine-year reign as director of the special ef- 
fects department at Universal Studios, David 
Stanley Horsley not only masterminded the 
illusions of such science-fiction benchmarks 
as // Came From Outer Space and This Island 
Earth, he invented much of the hardware 
needed to photograph them, along with de- 
signing new ways to use old techniques. 

The Horsley name actually formed the cor- 
nerstone of Hollywood. David Horsley Sr. 
was an independent filmmaker from 
Bayonne, New Jersey, where David Stanley 
was born in 1906. (In order to avoid confu- 
sion, young Horsley always went by the name 

48 STARLOG/June 1982 


of Stan.) Horsley Sr. fought gallantly against 
the Motion Picture Patents Trust and moved 
his company (Nestor Pictures) to Hollywood, 
based on a report that the climate there was 
ideal for picture-making. He set up shop by 
converting the old Blondeau Tavern on Sun- 
set and Gower Street into a studio in October 
of 191 1 . It became the first Hollywood movie 
settlement and was absorbed by Universal 
Pictures in 1913. 

With that kind of familial background, 
Stan Horsley's entree into filmmaking was al- 
most preordained. A child star in some of the 
early Nestor productions, his interests gravi- 
tated toward technique. He worked at the 
Morosco Film Lab in 1 9 1 7, doing a bit of edit- 
ing, and polishing the watermarks off the 
back of negatives. His first active film job was 
with Universal in 1923. "I'd go to Universal 
and hang around the old pepper tree near the 
camera department," he recalled wistfully, 
"hoping that one day they would need an 
assistant in a hurry and use me. Finally it hap- 
pened. One of the boys would show me how 
to load magazines in the studio darkroom, 
how to make out camera reports and how to 
unload magazines. I caught on that way and 
got started." 

One of Horsley's first assistant-camera- 
man jobs occurred during the making of the 
1923 Hunchback of Notre Dame, with Wal- 
lace Worsley directing Lon Chaney on the 
Universal backlot. The job wasn't easy, as a 
17-year-old Horsley had to haul cumbersome 

Akeley cameras up and down the huge exteri- 
ors. "We worked on top of the Cathedral, al- 
though the set in reality was only 50 or 60 feet 
above pavement level. The rest of the struc- 
ture was filled in with matte paintings. We 
had the 'downshot,' presumably from the 
position of the gargoyles, and 4500 extras 
were assembled on the set at night ! We had to 
work all morning and afternoon as well, get- 
ting all the shots lined up properly." 

Horsley began studio-hopping and worked 
as the calls came in. He landed a job on the 
original Ben Hurza MGM, and later assisted 
Joseph Walker, who photographed most of 
Frank Capra's films. Capitalizing on his de- 
sire for total proficiency, he became a fine still 
photographer in the tradition of cinemato- 
grapher James Wong Howe, and assisted the 
likes of Charles Rosher (Sunrise), William 
Daniels and Merrit Gerstad. 

It was with Gerstad that Horsley got to 
work with Tod Browning, soon to be known 
as the master of gothic horror. The film was 
Freaks, shot in December of 1931. Horsley 
winced at the memory. "It was the toughest 
job I ever worked on, without exception! 
Those of us working at MGM— known as 
'the jute mill' in those days— would try their 
best to escape being assigned to one of his pic- 
tures, because he would work us to death! 
And he almost did. Browning was a bastard 
as far as his crews were concerned. He was 
out to get everything on the screen, and he 
didn't care how long it took to get it done. We 

Horsley composited the shot of Karloff in. a close up eye from The Invisible Ray (1936). 

finished the picture around Christmas of '31 
and I hardly had eight hours off during that 
period. There was also a discrepancy in the 
ground system, and everything you'd touch 
would give you a shock ! We were working on 
a DeMille crane during the pouring rain, film- 
ing the Freaks slithering through the mud. So 
there we were, in real rain and motion picture 
rain as well! It was interesting, but Browning 
was really a hardworking guy." 

The turning point in Stan Horsley's life 
generated from his association with John P. 
Fulton in 1927, a friendship that spanned a 
lifetime. Horsley had worked with Fulton at 
Inspiration Pictures (a company formed by 
director Henry King) shortly before Fulton 
began his legendary special-effects career at 
Universal. Like Horsley, Fulton began as an 
assistant at Universal, freelanced in the twen- 
ties, and returned to that studio in 1930 to 
helm the newly-formed effects department. 
There, he put together the traveling matte 
shots for the climactic scenes of Frankenstein 
and Murders of the Rue Morgue, and soon 
garnered kudos from the industry for his pio- 
neering trick work in The Invisible Man. 

The Horsley-Fulton collaboration at Uni- 
versal came about as the result of a fluke. 
Stan had been working at MGM in 1933. 
During that summer, a cameraman's strike 
broke out in sympathy with a soundman's 
strike. He was laid off from that studio and 
blacklisted after turning down several offers. 
While waiting out his unemployment, the 
phone rang. "It was Mr. Fulton at the other 
end, calling me at 8 a!m. on a bright spring 
day. 'Stan, I've got a day's work for you as an 
assistant. Be here,' he said. And so I went out 
on a raincheck, expecting to get a day's work. 
I worked there that day, and as a result, I was 
there for 20 years working in special photo- 
graphic effects." 

Horsley's job that day was assisting Fulton 
on a rear projection shot involving a mockup 
of a San Francisco cable car. The shot called 
for a complicated focus change, starting out 
on a closeup of a wristwatch, then pulling 
back to reveal the rest of the process scene. 

Stan Horsley dons flippers for an underwater sequence in Mr. Peabody and the Mermaid (1947). 

Fulton's full-time assistant had been Bill 
Heckler, who did a substantial amount of 
work on The Invisible Man. When Heckler 
decided to take a job organizing process 
plates for the studio library, Fulton knew that 
someone would have to fill Heckler's boots. 
The job was a natural for Horsley, who dem- 
onstrated an affinity for technical effects. Af- 
ter that day's work, Horsley graduated to the 
optical room— his domain for the next 10 

His first feat of film magic was that of Dr. 
Pretorius' bottled miniature people in The 
Bride of Frankenstein. Fulton supervised the 
effect, but it was Horsley who did the work. 
"We went into Pretorious' laboratory very 
early, about the second or third day of shoot- 
ing. We were in there for about two days 
doing the scenes in the lab, including all the 
objects on the table where the little people 
would appear. I made very careful 
measurements, using the table top as a 
reference, for it was leveled, and carefully 
logged in inches the height of each lens used, 
the lens number and its focal length, and read 

Master Sergeant Horsley shoots miniatures for a demo reconnaisance training film at the 
motion picture special FX unit at Fort Roach. 

the angle of tilt of the camera with a protrac- 
tor. Then John and I shot the full-scale 
figures that were to go into the bottles against 
black velvet, for traveling matte work. 

"Once those scenes were edited, we went to 
work. The first thing I did was make a rough 
dupe with an optical printer consisting of a 
single printer head. With a Mitchell camera 
shooting into it running on interlocked mo- 
tors — which kept the whole thing in phase as 
well as in sync — I put the dupe together. Then 
Mr. Fulton gave me the job of putting the fig- 
ures in the bottles for a final composite. I had 
some traveling mattes working, but a lot of it 
was accomplished by airbrushing the nega- 
tive, keeping the reflections of the people on 
the bottles instead of eliminating them. The 
shots were effective, and it made a vivid im- 
pression on me." 

Capping the illusion was a shot in which 
the little King ran to his inamorata, the 
Queen, and had to be picked up by a pair of 
Pretorius' tweezers, a tour deforce of timing 
between background and foreground move- 
ment. MGM in fact was so impressed by it, 
they allocated $75,000 to build complicated 
optical equipment that would duplicate the 
effect Horsley and Fulton produced so eco- 
nomically. (The MGM film instigating this 
situation was Devil-Doll — ironically, for 
Horsley, another Tod Browning 

As the thirties horror cycle zenithed at Uni- 
versal, Horsley assisted Fulton on a multitude 
of filmic phenomena, now regarded as hall- 
marks of the macabre. For Henry Hull's first 
transformation scene in The Werewolf of 
London, the effects duo considered it care- 
fully. The shot called for Hull to turn into a 
vicious lycanthrope while passing behind a 
series of pillars, with Jack Pierce creating a 
more grotesque makeup for each stage (five 
in all). The obvious solution was to stop the 
camera at a point where the pillar would ob- 
scure Hull's image, apply the next makeup, 
and follow through with this procedure for 
the duration of the shot. Horsley and Fulton, 
wary of undesirable camera jumps, decided 
to do it the hard way. 

Hull was filmed "walking" on a conveyor 

STARLOG/y««e 1982 49 

belt against a black velvet background, with 
the camera locked off. Then a separate back- 
ground was filmed utilizing a slow camera 
movement. Generating high-contrast travel- 
ing mattes from the first shot, Horsley com- 
posited Hull onto this background. Finally, 
the pillars were photographed separately 
against black and composited over the previ- 
ous mix onto a new dupe negative with an- 
other series of traveling mattes, each pillar 
masking a precise point of makeup altera- 
tion. The results were eerily effective due to 
the peculiar fringing around Hull's body, giv- 
ing it an almost surreal quality. Only later did 
the team employ the technique of slow lap 
dissolves for Lon Chaney Jr.'s Wolf man ser- 
ies. To do this while the camera seemingly 
moved, however, was truly ingenious. 

For Universal's next feat, The Invisible 
Ray, Boris Karloff had to glow due to con- 
tamination by Radium X, a deadly element 
spewing out of a meteor crater in Africa. The 
project became a nightmare for Horsley, who 
had to composite those scenes. 

Frank Williams was a technician in Holly- 
wood who allegedly owned the patents on the 
traveling matte process, a monoply which 
was dissolved in an early forties court battle. 
For The Invisible Ray, Williams had sold 
John Fulton abill of goods, predicated on us- 
ing the complicated Williams traveling matte 
system which employed bi-pack film, in pho- 
tographing Karloff. One half of the bi-pack 
record would be used to print the regular scene; 
the other half would serve to generate mattes 
from Karloffs hands and face, on the as- 
sumption that his whitish makeup would sep- 
arate easily from the scene and allow for in- 
tensification. Tests were done satisfactorily. 
But the bi-pack film was quite old. Universal 
bought 20,000 feet of it in 400-foot rolls. 
After two day's work, the lab discovered 
that they could not develop the image suc- 
cessfully. So there was Fulton, with egg on his 

The only solution was to rotoscope the 
hands and face on an animation stand, inking 
them in on eels in the manner of an animated 
cartoon, and photographing the eels as a sep- 
arate matte roll. A reversal of this roll pro- 
vided a countermatte which masked off the 
rest of the scene while the glowing effects 
were printed in, using intensified exposure 
shot through a fog filter. 

"I actually had the task of compositing 
those shots," winced Horsley. "We had a 
crew of girls working around the clock in 
eight-hour shifts, doing the eel work on three 
animation stands. There was well over a 
thousand feet of these mattes, which required 
more than 16,000 drawings! I was there day 
and night, from the time the job started until 
all the mattes were inked and painted. It was 
rough, but it worked. From then on, we al- 
ways relied on hand-animated mattes for sim- 
ilar effects, and John later set that system up 
for The Ten Commandments. " 

In 1943, Horsley enlisted in the Air Force 
and was stationed at the Hal Roach Studio, 
which had been turned into a military in- 
stallation. Here at "Fort Roach," Master 
Sergeant Horsley headed the motion picture 

effects unit and produced convincing illu- 
sions for survival and reconnaisance films. 
Most of the work involved miniatures and 
process projection. Some of it looked so au- 
thentic, it was later used as stock footage for 
films requiring complicated aerial shots. 

After the War, John Fulton left Universal 
for the Goldwyn Studio, and production 
manager Martin Murphy was in desperate 
need of someone to run the effects depart- 
ment. Horsley was considered immediately. 

"Murphy was red-faced when he found 
out that John was going to leave him," said 
Horsley. "Martin tried to get me out of the 
Air Force, but he couldn't swing it. But when 
the war ended, they had to give me a dis- 
charge. The first thing that Murphy did was 
to negotiate a contract with me face-to-face, 
which I signed. I then took charge of Univer- 
sal's trick department. Attempting to fill 
John's shoes took some doing, believe me! 
And readjusting, getting the military out of 
my mind and getting back into regular film 
production was quite a transition." 

During the mid and late forties, Horsley 
devised impressive effects for such light fan- 
tasies as Mr. Peabody and the Mermaid, Ab- 
bott & Costello Meet Frankenstein, and later 
on, A&C Meet the Invisible Man. The film 
featured a startling sequence of the boys play- 
ing poker with an invisible Arthur Franz — a 
sequence accomplished with clever use of 
split screens and traveling mattes. A "click 
track" was used like a metronome to estab- 
lish precise timing during photography of the 
card movements. 

But real ingenuity came into play when the 
science-fiction/3D boom hit hard in the fif- 
ties. After the release of Bwana Devil, pro- 
ducer William Alland (the faceless reporter in 
Citizen Kane) convinced Universal that their 
next venture would have to be It Came From 
Outer Space — in 3D! The film became 
known as "Horsley's Experiment." After 
months of work he came up with a compat- 
ible 3D camera system based on a design by 
engineer-first cameraman Gene Polito. "It 
was the first 3D film to feature any extensive 
use of special effects, ' ' Horsley stated proud- 
ly. "The opening scene of the rocket landing 
was shot at high speed, around 160 frames per 
second. The model started up in the rafters, 
with magnesium burning in its tail, and 
crashed through a mirror into a sandbox. We 
were shooting into this mirror with a pair of 
cameras with a partial gap between them to 
get a very close interaxial spacing — about 
three-eighths of an inch — to make the thing 
look huge. And it was quite an effect. I re- 
member going back to New York and show- 
ing it to a press audience, by invitation only, 
at 10 o'clock in the morning. I worked all 
night long, getting the projectors superim- 
posed, getting the screen in place for the 
showing the next day. I stood in back of the 
house, and I remember what a kick I got out 
of watching the critics— these sophisticates, 
you know — ducking and weaving and dodg- 
ing the flying cork rocks! It was some experi- 
ence!" Working closely with him on most of 
Outer Space's effects were miniatures expert 
Charlie Baker, process technician Wes 

Thompson (later head of the Universal pro- 
duction office), propmaker Tim Baar and a 
multitude of others. 

After setting up the 3D system for The 
Creature From the Black Lagoon, Horsley 
engineered the special visuals for Abbott & 
Costello Go To Mars, a silly film which ne- 
vertheless required a rocketship to zoom 
through the Lincoln Tunnel and perform aer- 
ial stunts in and around New York City. For 
these scenes, Horsley had constructed a pre- 
cise miniature tracking device he called the 
linear actuator, which kept a moving minia- 
ture in the center of the frame while automati- 
cally compensating for acceleration/deceler- 
ation via a series of microswitches. The rocket 
shots were combined with New York footage 
using hi-con traveling mattes, and the 
rocket's entrance into, exit from, and appear- 
ance behind specific shapes of the city were 
made possible with hand-drawn rotoscoped 
mattes by Mille Weinbrenner and Ross Hoff- 
man's Acme matte camera. 

Horsley's state-of-the-art hardware was 
used again for the three-strip Technicolor 
spectacle This Island Earth (1954), easily the 
most ambitious effort of Horsley's career. He 
worked intimately with the art department 
and went out of his way to design effects shots 
that lacked cutaways and "cheats." The 
players, for example, would move in front of 
a matted-in Interociter image; gasoline ex- 
plosions were superimposed on the Metaluna 
landscape to breathe life into somewhat life- 
less matte paintings; and the atom-shaped 
gizmo inside the saucer was designed by 
Horsley himself. Much of the film's bizarre 
color work reflected Horsley's imagination, 
as he instructed Technicolor to transpose the 
color matrices for a dramatic, out-of-this- 
world look. The transformation of Jeff Mor- 
row, Rex Reason and Faith Domergue in 
their "pressure tubes" flaunted this 

Lamentably, This Island Earth marked the 
beginning of the end of Horsley's tenure at 
Universal. In translating his extravagant ideas 
to film, he went way over budget and made 
waves at the front office. Many of those ideas 
were torpedoed along the way. He recalled, 
toward the end of his life, the root of his 
studio woes. 

"The effects category was generally down 
at the end of the list at the budget meetings. If 
there was a little bit of money left over, we'd 
get some of it, but very often they immediate- 
ly try to cut it down, because almost in- 
variably they'd discover they were overspent 
or underestimated on a picture. It was dif- 
ficult to justify and lobby through what had 
to be lobbied at those production meetings. I 
avoided them whenever possible. It was a 
hassle for me and it usually didn't accomplish 
very much." 

Horsley's planned ending for This Island 
Earth, for example, was aborted by studio ex- 
ec James Pratt during the testing stage. 
Horsley wanted the doomed saucer to sail 
across the water and careen into the depths, 
sending billowing steam sky-high and causing 
the ocean to boil furiously before swallowing 
up the ship. Charlie Baker heated the minia- 

50 STARLOG//«rte 1982 

ture cherry-red with a blacksmith's bellows 
and Horsley had it rigged on a cable for high- 
speed photography over the Universal lake. 
But, in the final version, a ubiquitous explo- 
sion was doubled over the ship's descent 
—hardly the spectacle he had envisioned. A 
concurrent production, City Beneath the Sea, 
deepened his departmental predicament. The 
effects budget for the film was on the shoe- 
string "programmer" level. Against studio 
orders, Horsley had Baker and the prop shop 
construct a more elaborate underwater earth- 
quake than had been planned, pushing the 
film into the red. 

This Island Earth and City Beneath the Sea 
sealed Stan Horsley's fate at Universal. His 
increasing dissatisfaction with the presiding 
administration triggered volatile episodes, 
and he often drowned his tensions in a bottle 
of scotch. When his contract expired in 1954, 
the studio refused to renew his option, and 
the reigns were handed to Cliff Stine, who 
had been working with Stan on This Island 
Earth as a first cameraman. His legacy to a 
department he toiled in for 20 years was the 
Academy's Scientific Achievement Award in 
1955 for the invention of a remote control 
focusing device for process projectors, a pla- 
que that bore his name after his departure 
from the studio. 

Right: Horsley asked the Technicolor lab to 
interchange the dye matrices for this color FX 
sequence from This Island Earth. Below: 
Horsley with miniatures expert Charlie Baker, 
shooting plates near the Brooklyn Bridge for 
the rocket flight sequence \r\A & C Go to Mars. 

In the fifties and sixties, Horsley freelanced 
as a first cameraman and effects consultant. 
His friend John Fulton, then at Paramount, 
gave him the job of working out the lap- 
dissolve opening title sequence of The Ten 
Commandments, which he photographed in 
several languages. Later, he shot inserts and 
the main title sequence for Mike Todd's 
Around the World In Eighty Days. 

TV work was abundant. When William 

Alland developed his short-lived trick series 
World of Giants featuring Marshall Thomp- 
son as a diminuitive government agent — 
Alland's attempt to capitalize on his own suc- 
cess with The Incredible Shrinking Man — he 
hired Horsley to supervise the effects, which 
involved skillful use of split-screens and over- 
sized props. 

In 1960, Horsley was chosen by director 
(continued on page 64) 


""*■»»£ ^^^~" 


^^^d BBltaMM 

STARLOG/7«ne 1982 51 


Previewing A New Fantasy Film In The Works 

excited by the strong interest in the SF 
fantasy genre, Columbia Pictures is 
investing large amounts of money and 
talent into a multi-million dollar epic adven- 
ture film entitled Krull. Occupying eight of 
Pinewood Studios' 12 sound stages (in- 
cluding the 374-foot long 007 stage) to create 
the surface of the planet Krull, the film 
follows the epic adventures of a young prince 
who must rescue his bride-to-be from the 
clutches of an invading horde of hideous 

There are no spacecraft or laser guns in this 
film— in fact, no technology of any kind. 
Magic and sorcery are the order of the day as 
the valiant prince and his companions must 
cross the dangerous planet in search of the in- 
vaders' secret fortress. 


Peter Yates is the man in the director's seat. 
Krull brings him back to his native England 
after 15 years in Hollywood, were he helmed 
such films as Bullitt, The Hot Rock, For 
Pete's Sake, Mother, Jugs and Speed, The 
Deep and Breaking Away. 

Special effects being an important part of 
the film, the SFX unit has been put into the 
very competent hands of Academy Award- 
winning visual effects supervisor Derek Med- 
dings, noted for his work on Superman I& II, 
the last five James Bond films, and the 
popular Gerry Anderson TV series of the 

Peter Suschitsky is Director of 
Photography, a position he held on The Em- 
pire Strikes Back and The Rocky Horror Pic- 
ture Show. Production designing for Krull 

has been the task of Stephen Grimes whose 
career includes such envious credits as Moby 
Dick, The Misfits, Three Days of the Con- 
dor, The Way We Were, Urban Cowboy, 
and the recently acclaimed hit, On Golden 

You may not know the name, but Vic 
Armstong has been seen by millions as James 
Bond, Superman and Indiana Jones. As 
stantm^n on Live and Let Die, Superman I & 
II and Raiders, Armstong has doubled for 
our heroes in their most daring feats. For 
Krull, he will be handling the exciting physical 
action sequences required by Stanford 
Sherman's script. The producers of Robert 
Redford's last film, Brubaker, Ron Silver- 
man and Ted Mann, are occupying the posi- 
tions of Producer and Executive Producer, 

American actor Ken Marshall, who recent- 
ly completed the lead role in NBC-TV's for- 
thcoming mini-series Marco Polo (with 
Leonard Nimoy), stars as the film's hero, 
Prince Colwyn. When Krull is invaded by 
The Beast and his evil minions, The Slayers, 
the aliens raid a royal wedding ceremony that 
will unite two kingdoms. The aliens kidnap 
Princess Lyssa, forcing the young prince to 
follow and rescue her. Lyssa is played by 
Lysette Anthony, a young actress who ap- 
peared on U.S. TV last February in the CBS- 
TV three-hour presentation of Ivanhoe. 

Freddie Jones, who won acclaim as the 
sadistic fairground showman Bytes, in the 
film The Elephant Man, is cast as Colwyn's 
mentor, Ynyr, who helps guide the prince to 
find the weapons and information that will 
lead him to Lyssa's rescue. On the way, they 
seek out "The Widow of the Web," an an- 
cient woman who can see the future. She lives 
in a cocoon in the center of a giant web, 
guarded by a monsterous crystal spider. 
British actress Francesca Annis, who made 
her film debut in Cleopatra, plays the 

Veteran British actor Bernard Bresslaw 
also stars as a Cyclops who befriends the 
band of rescuers. 

Krull will go on to Italy for one month of 
location shooting and then into an intense 
period of post-production work in order to 
get the film ready by its scheduled July 1983 
release date. * 

Left: Ynyr climbs across the web of the giant 
crystal spider to reach "The Widow of the Web.' 
Top right: Derek Meddings makes some adjust- 
ments on the spider which will be stop-motion 
animated by Steven Archer. Bottom right: 
Meddings and his effects crew create the 
miniature web set at Pinewood Studios. 

52 STARLOG//u«e 1982 







Many science fiction fans collect back issues of STARLOG partly because the 

magazine represents a valuable chronicle of the SF field and also because it 

offers the best interviews, photos and data available on all the great SF movies 

and TV shows. Here is your opportunity to fill in missing STARLOG issues and 

form a valuable library of science fiction history. . . 


Next month, it will be priced as a limited back issue. 

No. 12- 

No. 17— 

ete episode 
Bionic Woman, Space 

No. 1— Premiere 



Roddenberry Interview. Space: 1999 Year 
One Episode Guide. Logan's Run. Flash 

No. 3- 

Star Trek Con News. 40 Made-for-TV SF 
Films. Space: 1999 Year Two Episode 

No. 4— 

"Arena"— The Original Story. 3-D SF 
Movie Guide. Nick Tate interview. The 
Outer Limits. 

No. 5— 

Science Fiction Directory. History of 3-D 
Movies. UFO Episode Guide. Don Dixon 

No. 6- 

Special Effects: Part I: Heinlein on Desti- 
nation Moon. Making of Fantastic 


Sfar Wars: Pix and Stories. Making of 

No. 56— 

Rocketship X-M. Exclusive Eagle 

No. 8- 

Harlan Ellison interview. NASA Space 
Shuttle Tour. Saturday Morning TV 

No. 9- 



ter. Sfar Wars: Behind 

Interview: George Pal. Alber Glasser 
Movie Music. SF Merchandise Guide. 

No. 11 — 

Close Encounters Preview. The Prisoner 
Episode Guide. 7"ne Incredible Shrinking 

No. 12- 

Chesley Bonestell Tribute. History of U.S. 
Space Program. Laserblast: Behind the 

No. 13— 

Interview: David Prowse. 3001: A Space 
Comedy. Pal Remembers The Time 

No. 14- 

Star Trek Spoof. The Art of Virgil Finlay. 
Project UFO. Interview: Jim Danforth. 

No. 15— 

Twilight Zone Episode Guide. Galactica: 
SneaV; Preview. The Selling of Star Wars. 

No. 16— 

The Films of Bert Gordon. Solar Power 
Satellites. The Invaders Episode Guide. 

No. 18— 

Galactica Interviews. Dracula Films. 
Jekyll & Hyde. 2nd SF Merchandise 

No. 19— 

Interview: Ralph Bakshi. Corman' Master 
of the "Bs". Body Snatchers. Buck 

No. 20— 

Interview: Pam "Mindy" Dawber. Buck 
Rogers' 50th Birthday. Flying Model 

No. 21 — 

Interview: Mark Hamill. Lost in Space 
Episode Guide. History of SF Model Kits. 

No. 22— 

Interview: Lome Greene. Preview: SF 

No. 40— 

Films of 1979. Careers in Special Effects. 

No. 23- 

Interview: Darth Vader. "Dr. Who" Epi- 
sode Guide. "The Day the Earth Stood 

No. 24— Special Issue 

STARLOG's 3d Anniversay. Interviews: 
Shatner & Nimoy. "Moonraker," "Alien" 

No. 25- 

Interview: Ray Bradbury. "Star Trek" 
Movie Report. Never-seen "The Thing" 

No. 26— 

Free Blueprint. SF Collectibles. Moon 
Missions Revisited. 

No. 27— 

SFS: "Alien" & "Trek." Hildebrandts' "Ur- 
shurak". "Galactica" Episode Guide. 

No. 28- 

Fall TV Issue. Universal Studios Tour. 
"Wonder Woman." 

No. 29— 

3rd SF Merchandise Guide. Incredible 
Shrinking Mork. Interview: Erin Gray. 

No. 10— 

No. 30— 

No. 30— 

Trek Interviews. 
Part I: Chekov's 
Enterprise. SF 

No. 31 — 

Exclusive Em- 
pire Photos. 
Black Hole In- 
terviews. SFX: 
Disney's 20,000 

No. 32— 

Exclusive Trek 
Designing Buck 
Rogers. How 
Meteor's FX 

No. 33— 

Voyage to Bot- 
tom of Sea Ep. 
Guide. Ellison 
reviews Trek. In- 
terview: Max 

No. 34— 

INSERT! Galac- 
tlca 1980 inter- 
views. Irvin Ker- 
shner on Em- 
pire. Bob Burns' 
ALIEN show. 

No. 35— 

Battle Beyond 
the Stars. Star 
Animated kid- 
vid. interview: 
Bruce Lansbury. 

No. 36— 

STARLOG's 4th 
Anniversary. In- 
terviews: Gary 
Kurtz, Nichelle 
Nichols. Dave 

No. 37— 

Interview: Har- 
rison Ford. Bat- 

No. 26— 

No. 27— 

No. 28— 

No. 25- 

tle Beyond the 
Stars, Buck 
Rogers, Star 

No. 38— 

CE3K, Buck 
Episode Buide. 
George Pal 

No. 39— 

Buck Rogers, TV 
Preview, Tom 
Corbett, Inter- 
view: Fred 

No. 40— 

Interviews: Mark 
Hamill, Gene 
Gil "Buck 
Rogers" Gerard. 
SFX: Empire. 

No. 41 — 

Interviews: Sam 

"Flash Gordon" 
Jones, John 
History of SF 
comics. ALIEN 

No. 42— 

Interviews: Mark 
Lenard, Robert 
End": the 
"Flash Gordon." 

No. 43— 

HULK Episode 

Guide! Gary 
Kurtz interview, 
History of SF 

No. 44— 

"Flash Gordon" 
SFX, "Shrinking 
Woman," "Con- 


No. 35- 


No. 36— 

r m 

No. 37— 

dorman." Fan- 
tasy Art. 

No. 45— 


''Escape from 
New York," 
NASA's Saturn 
Probe, "Out- 
land," "Dwarfs" 

No. 46— 

Interviews: Blair 
Brown. Joe 
Alves Preview: 
"Superman II," 
American Hero" 

No. 47— 

Frances Ster- 
nhagen, Sarah 
Douglas, Wilfrid 
David Kyle, 
George Takei. 
Douglas Adams 

No. 48— 

STARLOG's 5th 
Anniversary In- 
terviews: Harri- 
son Ford, 
George Lucas, 
John Carpenter, 
Bill Mumy 

No. 49— 

Barbeau. Kurt 
Russell, Derek 
George Lucas 
Pt. 2. SFX: 
James Bond, 

No. 50— 

Kasdan. Jeremy 
Bulloch, George 
Lucas Pt. 3. Ray 
"Heavy Metal." 

No. 44— 

NO. 49— 

No. 50— 

No. 31 — 

No. 42— 

No. 51 — 

William Shatner, 
Ray Harry- 
hausen, Gene 
Jerry Goldsmith. 
"Return Match." 

No. 52— 

"Blade Runner," 
Wasn't Nice," 
"Matthew Star." 
Julian Glover, 
William Shatner. 

No. 53— 

Preview: "Heart- 
beeps;" Inter- 
views: Ray Brad- 
bury, Patrick 
Macnee: "Blade 
Tenth Planet. 

No. 54— 

terviews: Robert 
Culp, Connie 
"GAH" Episode 
Guide, "Time 
Bandits." Leslie 

No. 55— 

"Quest for 
Fire," "Time 

Bandits;"' Inter- 
views: Philip K. 
Dick, Ed. 
("UFO") Bishop. 
Alan Ladd Jr.: 
Futures Past. 
SFX: Doug 

No. 56— 


doz;" "Triffids" 
"2001 "Color 

[ STARLOG Back Issues 

For back issues, NYS res 
□ No. 2-S5.50 

dents add sales tax. 
D No. 21-S3.75 

□ No. 39-53.75 

□ No. 3-S4.50 

□ No. 22-S3.75 

□ No. 40-53.75 

475 Park Avenue South, dept. : 

□ No. 4-S4.50 

□ No. 23— S3.75 

□ No. 41-53.75 

□ No. 5-S4.50 

□ No. 6-S4.50 

□ No. 24-S6.00 

□ No. 25-S3.75 

□ No. 42-56.00 

□ No. 43-53.75 


□ No. 7-S5.00 

□ No. 26-S3.75 

□ No. 44-53.75 

Back issue prices include postage for 
regular 3rd Class delivery (4 to 6 

2 magazines: add $1.84 1st Class 

□ No. 8-S4.50 

□ No. 27-S3.75 

□ No. 45-53.75 

weeks). For super-quick service, in- 

3 magazines: add $2.62 1st Class 

□ No. 10-S4.50 

□ No. 28-53.75 

□ No. 46-53.75 

clude your own SELF-ADDRESSED 


□ No. 11— $4.00 

□ No. 29-53.75 

□ No. 47-53.75 

9" x 12' envelope. 1st Class postage 
can either be included with payment 

For MORE THAN 3 magazines, send 
TWO or more envelopes with ap- 

□ No. 12— S4.00 

□ No. 30-53.75 

□ No. 48-56.00 

of affixed to the envelope with the cor- 

propriate 1st Class Postage on each. 

□ No. 13— S4.00 

□ No. 31— 53.75 

□ No. 49-53.25 

rect number of American stamps. NO 

1st Class order with incorrect 

□ No. 14-S4.00 

□ No. 32-56.00 

□ No. 50-53.25 

FOREIGN STAMPS. We will process 
these orders the same day they are 

postage will be sent via 3rd Class Mai I 
with no refunds. 

□ No. 15-S4.00 

□ No. 16-S3.75 

□ No. 33-53.75 

□ No. 34-53.75 

□ No. 51-53.25 

□ No. 52-53.25 

received, and you should have them 


□ No. 17-S3.75 

□ No. 35-53.75 

□ No. 53-53.25 

within 10 days. Issues 1-8 & 10 are 

For all countries other than U.S., 

□ No. 18— $3.75 

□ No. 36—56.00 

D No. 54-53.25 


Canada, & Mexico, above rates DO 
NOT apply. 

□ No. 19-53.75 

□ No. 37-53.75 

D No. 55-S6.00 

1 magazine: add $1.06 1st Class 

Printed Matter Air Mail: add $1.70 per 

□ No. 20-S3.75 

□ No. 38-53.75 

□ No. 56-53.25 



Enclosed $ . 



City . 

The Evolution of the spaceship: 

Part Two 


I ought to reemphasize that in this subser- 
ies of articles about the spaceship I am 
not talking about the history of rocketry 
and space travel. Certainly the two go hand- 
in-hand: there is no question that the science 
fictional spaceship reflects current technol- 
ogy, or that imaginary spacecraft helped to 
pave the way for the realthing. So not only is 
it impossible but undesirable as well to try to 
separate totally the real and the fantastic. But 
there have been many histories of rocketry 
and space travel and in these the SF-spaceship 
has only been given a passing nod, acknowl- 
edging its existence reluctantly if at all. Here I 
am only reversing the emphasis. 

Something like a similar split between the 
real and the imaginary took place in the actual 
history of astronautics. Back in the very early 
30s (actually 1930, which is as early in the 30s 
as you can get) both the United States and 
Great Britain had societies devoted to study- 
ing the problems of spaceflight : the American 
Interplanetary Society and the British Inter- 
planetary Society. The former was founded 
in the year just mentioned, the latter just three 
years later. The British society began with just 
four members meeting in their own homes. 
There were many similar groups in Britain at 
the time but mainly due to the efforts of its 
founder, Philip Cleator, the BIS rapidly drew 
a large membership. The BIS maintained 
close contact with similar societies in other 
nations; it was mainly through Cleator's ef- 
forts that Willy Ley was able to escape the 
growing Nazi regime that had caught up most 
of the other members of the German rocket 
society — such as Wernher von Braun — in the 

56 STARLOC/June 1982 

secret war-rocket project. Not long after the 
founding of the BIS, their American counter- 
parts changed their name to the American 
Rocket Society. The ARS tried to convince 
the BIS to change its name as well but, in the 
words of Arthur C. Clarke (a member of the 
BIS since 1 936) , "... we refused to lower our 
sights." There was more than just a differ- 
ence in name now. The ARS concentrated on 
the development of working rockets, particu- 
larly the liquid-fueled rocket engine. Their 
work led directly to the American rocket pro- 
gram and a whole other story. In Britain, 
however, more than just higher sights gave 
them different goals. Lack of funds and re- 

Miller's schematic of BIS launch vehicle. 

sources, and worst of all: strictly prohibitive 
laws concerning explosives steered the BIS 
away from actual experimentation and into 
other, more theoretical, realms. They decided 
to build a spaceship on paper. 

They were thorough. By the time they had 
completed plans for their first spaceship they 
had anticipated virtually every important de- 
tail of the Apollo program by 30 years. By 
1938 the members had completed plans for 
their first moon rocket. Its design had begun 
early in 1937 and was eventually published in 
the society's slender Journal in 1939. It was 
the result of a study by the eight-member 
Technical Committee (to which Clarke be- 
longed) to show "how a vessel may be con- 
structed to carry a crew of two . . . safely to 
the Moon; permit their landing for a stay of 
14 days; and provide for their safe return with 
a payload of half a ton. " The object— like the 
Collier's Symposium of 15 years later— was 
to show that this could be done with then- 
existing techniques and materials. 

Their calculations showed them that it 
would require 1000 tons of fuel to launch 
every ton of spacecraft. They settled, then, on 
the problem of getting a spacecraft of one ton 
to the moon and back. They found, too, that 
unlike any other type of engine, a large rocket 
engine is not lighter in proportion to its size 
than a smaller engine. They found that the 
proportion rose so steeply that an engine of 
more than 100,000 hp would have been 
"hardly feasible" {one of the Saturn V's Fl 
engines developed a thrust of nearly one and a 
half million pounds). They decided on using 
a large number of small units that combined 

would provide the necessary total thrust. 
Since the cost of the motors would be less 
than the cost of the fuel required to carry 
them, they would be jettisoned along with the 
empty fuel containers. Unaware of recent ad- 
vances in large liquid-fueled rockets at Peene- 
munde, the BIS team chose to power their 
rocket with a solid propellant. These two de- 
cisions — many small power units and solid 
fuel — led to a unique cellular design: each 
stage consisting of clusters of hundreds of 
small solid-propellant rockets. Since they rea- 
soned that " anything whichistobejettisoned 
should be jettisoned as soon as possible" , the 
32-meter-tall ship was to consist of six stages. 
Small liquid-fueled motors were provided for 
steering. The ship would have been just over 
six meters in diameter and composed of 2490 
self-contained rocket engines (the ship is 
number four in last month's drawing). 

The landing craft, the sixth stage, was a 
gumdrop-shaped vehicle bearing an uncanny 
resemblance to the Lunar Module. Once 
under way provision was made to rotate the 
module (one revolution/3 Vi seconds) to pro- 
vide artificial gravity, since the effects of pro- 
longed weightlessness was — naturally — un- 
known. Also it was felt that for navigational 
purposes a controlled rotation was more de- 
sirable than a random one. Landing legs, 
equipped with shock absorbers, were to be 
extended just before touchdown. There was 
to have been a crew of three. Reclined chairs, 
surrounded by the necessary controls and in- 
struments, protect the astronauts against the 
acceleration. During the take-off the lunar 
module is shielded by a cowling that is jetti- 
soned once the spacecraft is beyond the atmo- 
sphere. Once the carapace is gone, the astro- 
nauts can use the portholes: one set looking 
forward and another to the rear. Full instru- 



journal °f the |||| 

brimh interplanetary sooety H 



. VMM. CO^TK* «D -**«***« 

. cosmic mi »«>eio u ' a 


. w.N S*t> *T£MTS<.I>B CW TUBES 



The Journal of the British Interplanetary 
Society from March, 1 977. A monthly publica- 
tion, this volume is entitled "Interstellar 
Studies" and includes, among others, reports 
on Spaceflight and Colonization, Starship De- 
tection, and Man and Interstellar Cultures. 

mentation was designed including gyroscopic 
stabilization. The capsule finally returned to 
the Earth, its landing cushioned by a para- 
chute. The only real variance with reality was 
in providing a heat shield for the take-off 'and 
none for re-entry ("The return into Earth's 
atmosphere will be done at low velocities, 
hence heating of this shell will not be exces- 
sive"). On the credit side, the heat shield they 
planned on using was to be a reinforced cer- 
amic, they just got rid of it too soon. 

Although the BIS had neither the funds 
nor the freedom to build flying rockets (but 
the old German rocket society did, to Eng- 
land's eventual misfortune) the members did 
the next best thing. They designed and built 
the first instrumentation intended to be used 
in a spacecraft — indeed, useless in any other 
type of vehicle. The first device constructed 
was a spaceship "speedometer," designed by 
J. Happian Edwards, head of the spaceship 
design team. He invented what is now called 
an "inertial guidance system." Similar de- 
vices guide rockets and satellites today. BIS 
members never did get the speedometer built 
since Mrs. Edwards refused to allow lead 
weights to be cast in her best pots and pans. 

The next try was at an instrument that al- 
lowed astronauts to navigate from inside a ro- 
tating spacecraft. A system of rotating mir- 
rors enabled the navigator to observe a sky 
that appeared to be seen from a nonrotating 
space craft. This actually managed to get 
built, and was displayed operating at the 
South Kensington Science Museum. The 
publication of the BIS spaceship plans and 
the museum demonstration brought the soci- 
ety, and its aims, great publicity— not all of it 
good (but even bad publicity is better than be- 
ing unknown). The prestigious journal Na- 
ture reported, "While the ratio of theorizing 
to practical experimentation is so high, little 
attention will be paid to the activities of the 
British Interplanetary Society." 

Like the Collier's symposium later in the 
U.S., the BIS created a thorough and consis- 
tent space exploration program on paper: un- 
manned satellite vehicles, manned suborbital 
and orbital flights, space suits, space stations, 
orbital refueling, lunar landings, lunar bases 
and colonies and interplanetary flight. Every 
concept was meticulously illustrated by 
R.A. Smith, a member of the BIS from its 
founding until his death in 1958. He was a 
member of the design team that worked on 
the first BIS moonship. His artwork and the 
later work of the BIS will be covered in a fu- 
ture article. 

Like many of the successful predictions of 
science fiction, the 1938 BIS moonship's re- 
markable similarity to so many of the features 
and functions of the Apollo spacecraft is due 
a great deal to parallel evolution: there often 
being only a limited number of practical 
answers to any problem. In this case, not just 
the problem of going to the moon and return- 
ing, but of a minimum lunar mission. Be- 
cause they worked with the least necessary 
material their predictions turned out to be 
correct while the equally workable fleets of gi- 
ant spacecraft proposed by the Collier ''steam 
did not. ■¥ 


Here is the latest listing of the upcoming conventions. If 
you have any questions about the cons listed, please send a 
self -addressed, stamped envelope to the address below 
the name of the con. As always, guests and features are 
subject to last-minute changes. Conventioneers, please 
note: To insure that your con is listed on our calendar, 
please send all pertinent information no later than 6 months 
prior to the event to starlog Convention Calendar. 475 
Park Ave. South. New York. NY 10016. 

FANTASY FAIR (Media/Comics) 

Dallas Dunfey Hotel 

Dallas, TX June 10-13, 1982 

Fantasy Fair 
1206 Atlanta Drive 
Garland, TX 75041 


Cara Inn 

Toronto, Canada June 11-13, 1982 

D. Lozinski 
33 McMurray Avenue 
Toronto, Ontario 
Canada M6P 2S9 

FUN CON (SF/Comics) 

Elks Convention Center 

Garden Grove, CA June 13, 1982 

Fun Con 
P.O. Box 6263 
Santa Ana. CA 92706 
(714) 530-3583 


with Kerry 0'Quinn and the STARLOG Birthday Fantasy 


The Summit 

Houston, TX June 19-20, 1982 

The Ultimate Fantasy 
7651 Park Place 
Houston. TX 77087 


with Robert Greenberger and the STARLOG Birthday Fan- 
tasy Film 

Marriot Hunt Valley Inn 

Cockeysville, MD July 9-11. 1982 

Star Trek Assoc, of Towson 
P.O. Box 10126 
Towson. MD 21204 


King's Inn 

Huntsville.AL July 16-18, 1982 

Constellation I 
7907 Charlotte Dr. 
Huntsville, AL 35802 


Chase Park Plaza 
St. Louis, M0 

Archon Six 
P.O. Box 15852 
Overland, M0 63114 


Griswold's Inn 
Fullerton, CA 

Fantasy Faire 
c/o Fantasy Publishing Co. 
1855 W. Main Street 
Alhambra, CA 91801 
(213) 927-3200 


with David Hirsch and the STARLOG Birthday Fantasy Film 

Springfield Marriot 

Springfield, MA July 30-August 1 , 1982 

Chris Landry 

1 2 Maplewood Terrace 

Springfield, MA 01 108 

A new 15-minute 16mm color film. "STARLOG's Birthday 
Fantasy," is available for screenings at conventions, 
schools and libraries in the U.S. and Canada only. 
Organizers should contact Damon Santostefano. c/o thir 
department (see address at top of column) for details anr 

July 23-25, 1982 

July 30-August 1,1982 

STARLOC/June 1982 57 



Chtorran Jokes 

Okay, here's the good news. 
I have finished my 19th book. 
It only took 16 years to write. 

I first got the idea in 1966. There was a TV 
show called The Invaders. It was a fairly well 
produced series with the subtext that para- 
noia can be fun. It wasn't one of my favorite 
TV series, but it did set off an interesting train 
of thought. 

I began to wonder what a real invasion of 
the Earth might be like. 

I thought about it for the next five years. I 
made notes. I began to get a sense of who my 
invaders were. People would ask me what my 
book was about, I would tell them, "Giant 
pink man-eating caterpillars." 

I began to develop the background of the 
story, the world in which it occurs. I began to 
meet the people the story would be about. 

And one day I realized something. The 
story was all my favorite stories in the world, 
all rolled into one. It had a little bit of Them 
and a little bit of War of the Worlds, a little bit 
of Starship Troopers and a little bit of The 
Puppet Masters. (I had just filed off the serial 
numbers, slapped on a new paint job, and 
hoped nobody would notice.) 

This was the story that I always wanted to 
read, only no one else had written it yet. So I 
had to. 

I started the actual writing of the book in 
1 97 1 , and have been working on it of f and on 
for the past 1 1 years. For the past year, I have 
worked on nothing else. 

The book is now complete. 

(Well, there may still be a few little correc- 
tions between now and the time it goes to 
press, but essentially, the book is finished. 
And turned in.) 

The book is called A Matter for Men. It's 
the first of four projected books set against 
the background of this particular extra-ter- 
restrial invasion. It is the book which sets up 
the problem to be solved in the succeeding 

Over the past ten years, I have shared the 
book with a number of friends and fans. I 
have even given readings from the work in 
progress at several conventions. (The first 
reading was at the Westercon in 1975.) Be- 
cause of that, people have been asking me, lit- 
erally for years, when the book would be fin- 
ished—when will they be able to read it? 

A lot of these people gave me incredible 
support on the background material . (In fact , 
that's the subject of another whole col- 
umn — how a book is researched.) Some of 
the suggestions made were wonderful! I don't 

58 STARLOG/June 1982 

know what it is about monsters, but they 
seem to inspire the best in people! 

The Chtorr are wonderful monsters. (It's 
pronounced "Ktor," with a click — like the 
word "Victor" without the "Vih" in front.) 

As I said before, they are giant pink man- 
eating caterpillars. 

They are big. Very big. 

They are mean. The only creature that ever 
won a fight with a Chtorran was a grizzly 
bear — and it was a very rumpled looking bear 
that walked away. 

They are voracious eaters. And not at all 

In fact, it was while discussing the Chtor- 
rans' eating habits with a few friends of mine 
one night that we created a whole new sub- 
genre of sick humor: the Chtorran joke. 

There are no Chtorran jokes in A Matter 
For Men. (Well, only one, but it's a little one. 
"Do you know what a Chtorran calls an 
idealist? Lunch.") 

I have a whole folder full of Chtorran jokes 
that we made up. It was a very funny evening. 
A Matter for Men is not a particularly funny 
book, but I thought this would be a great 
place to share the Chtorran jokes with you. 
This will tell you more about the Chtorrans 

than anything else I could say: 

* * 

What's the difference between a Chtorran 
and World War II? 
The Chtorran burps. 

* * * 

What's the difference between a Chtorran 
and a volcano? 

The volcano has better manners. 

* * * 

Did you hear about the Chtorran who ate 

An hour later, he was hungry again. 

* * * 

How many Chtorrans does it take to 
change a light bulb? 
Two. One to change the bulb, the other to 

eat him and take the credit. 

* * * 

What do Chtorrans call Denver? 


* * * 

What do Chtorrans call Atlanta? 


* * * 

What do Chtorrans call New York? 

A mouthful. 

* » * 

What do Chtorrans call Denmark? 

What do Chtorrans call Brooklyn? 


* * * 

What does a Chtorran do on Christmas 

It lies in the fireplace with its mouth open, 

looking up the chimney. 

* * * 

Why did the Chtorran eat only one of 
Ronald Reagan's legs? 
It didn't want to leave him without a leg to 

stand on. 

* * * 

What do you say to a Chtorran who's 
eating the Ayatollah Khomeini! 

Bon appetit. 

* * * 

Why wouldn't the Chtorran eat an NBC 
Vice President? 

Even Chtorrans have some taste. 

* * * 

Why did the Chtorran eat Mt. Everest? 

Because it was there. 

* * * 

What does a Chtorran call Carnegie Hall? 


* * * 

What do Chtorrans call the United Na- 

Continental Cuisine. 

* * * 

What does a Chtorran call Amtrak? 

Fast food. 

* * * 

What should you make when you invite a 
Chtorran home to dinner? 

Your will. 

* * * 

What does a Chtorran call three Californ- 
ians in a hot tub? 

Cup of soup. 

* * * 

How do you housebreak a Chtorran? 

With a flame-thrower. 

* * * 

How do you teach a Chtorran to sit? 
Holler "Sit!" and kick his hind legs out 

from under him 

* * * 

Why is a Chtorran like a writing desk? 
Because David wrote on them both. * 

ED/TOR 'S NOTE: Mr. Gerrold has been given a free 
hand to express any ideas, with any attitude, and in any 
language he wishes, andtherefore, this column does not 
necessarily represent the editorial views o/STARLOC 
magazine nor our philosophy. The content iscopyrighted 
© 1982 by David Gerrold. 


The Book Every Horror 
Film Fan Must Have! 



The Films of Roger Corman — a 
brand-new, fact-filled book that 
tells you everything you ever 
wanted to know about the king of 
the B-films! Written by STARLOG 
alumnus Ed Naha, the 200+ page, 
fully-illustrated volume includes a 
full biography of Corman, the 
development of his motion picture 
empire, and a complete 
filmography of Corman's best & 
worst, from The Little Shop of Hor- 
rors to Attack of the Crab 

ONLY $14.95 plus postage! 


Or just a steady companion? Thin, dis- 
tinctively handsome, age irrelevant, sex 
hard to say, this SKULL could be what 
you've been waiting for. It's always a 
charmer, never a dead beat, certain to 
liven up any occasion (except maybe a 
funeral), and you can take it anywhere. Be 
the first in your neighborhood to own an 
authentic replica of a HUMAN SKULL, 
start a trend (the moveable jaw is 
especially fetching). And when you get to 
know it better, you can call it Yorick. Sup- 
plies are, uh, temporarily limited, so order 
yours today. 

$19.95 + $2.60 postage 

The Book 




Must Have! 


The most critical, hilarious and informative letters 
ever received in the STARLOG offices. 

PANIES— Comprehensive directory of names, 
places and addresses that will put you within a let- 
ter's reach of your favorite SF TV shows, movies 
and all the stars. 

* FAN CLUB SECTION— No matter what their in- 
terest, all kinds of fan clubs are listed, with com- 
plete membership details. 

• PEN PAL EXCHANGE— Want to communicate 
with other fans? Here's a list of names, addresses 
and areas of interest of hundreds of STARLOG 

Only $1.50 plus postage 


A huge wall-size blueprint poster with large front and 
side views that show accurate scale, construction 
details and descriptions with all the circuits and 
functions. This is the original Robby the Robot from 
Forbidden Planet. Order today, this combination pin- 
up poster for only $3.00 plus 50« for postage. 

Yes, that's what everyone said at the latest conven- 
tion when they saw our NEW Official STARLOG 
Spaceshirt. You see, we returned to our original 
"eclipse" design (the symbol of STARLOG), but we 
created new artwork, a new printing process and a 
higher-quality 100% cotton T-Shirt. The result is 
the sharpest look when you're in the mood for the 
most fun! The STARLOG logo is a bright color, the 
corona is a bright white and the Spaceshirt back- 
ground is jet black. Order yours today . . . and stay 
sharp, kid. 

$6.95 + postage 




Posterbook No. 5 

The behind-the-scenes 
story of the biggest 
Bond film yet* Derek 
Meddings' space effects 
• Adams' out-of-this world 
sets • Action-packed 
color photos* full cast 
and credit listing 

Posterbook No. 4 

Featuring in Full- 
Color: Special Effects 
• The Stars of 
Salvage 1 • Behind- 
The-Scenes Stories • 
Exclusive Interview 
with Creator/Producer 
Mike Lloyd Ross 

Posterbook No. 3 

— Three Superhero 
pin-ups: Hulk, Wonder 
Woman, Superman! All 
new Body Snatchers. 
New Buck Rogers, 
Spider-Man, Mandrake, 
Message from Space, 

Posterbook No. 1 

—GIANT Color Fold- 
out Poster of Space- 
shipsfrom Project UFO. 
ACTICA"— Behind-the 
scenes photos. 
HULK"— pix and story. 

Celebrity Poster 
Heroes #1 

• Full-color ROCKY 

• The making of 

• Behind-the-scenes 
on the set 

• Full cast and credit 

ONLY $5.00 

(plus $1.50 postage) 

Each posterbook, $1.50 plus 

Sorry, Posterbook No. 2 is SOLD OUT. 

STARLOG/ywne 1982 59 



1982 Atlantis Calendar 

By The Brothers Hildebrandt 

Special price, while they last! 

Only $3.95 (plus $1.05 postage) 


Straight from Metropolis to your home 
town-the official AMAZING WORLD OF SUPER- 
MAN . Includes a frameable giant POSTER of Kryp- 
ton cities by the legendary Neal Adams! ! And; the 
exciting origin of Superman, a rogue's gallery of 
super-villains, panels from early issues, a year- 
by-year CHRONOLOGY of Superman's life, a 
TOUR of the Fortress of Solitude, info on the whole 
phenomena of Superman including movies, tv 
shows and the Broadway musical. And so much 
more. You'll also visit the real town of Metropolis. 
Illinois and see how it laid claim to super-fame by 
honoring Superman . You ' II also get a special how- 
to section on drawing the Man of Steel, and you'll 
find out how a comic book is created . This impres- 
sive, definative volume on Superman is a must for 
all fans. ONLY $5.00 + postage 


i%^rVly-^> A>v-rwi^ /"o 1 

Discover the human side of TV's most 
popular alien in two fabulous stereo 

Leonard Nimoy's Space Odyssey 

Includes: "Theme from Star Trek," 
"Once I Smiled," "The Ballad of Billbo 
Baggins" and "Spock Thoughts." 

The Way I Feel 

Includes: "I'd Love Making Love To 
You." "Both Sides Now," "It's Getting 
Better" and "The Hitch-Hiker." 

ONLY $7.98 EACH + postage 
60 STARLOG//«/?e 1982 


12 full-color art prints by SF's top 
fantasy artists 


Every page lives! Vivid, color-explosive 
drawings by master artists designed to com- 
pliment and expand the fantastically bizarre, 
imaginative stories of Harlan Ellison. A book 
of illustrated beauty, terror and passion. For 
those ready for anything. 

ONLY $8.95 + postage 


The latest from Starlog Press— 
The Starlog Scrapbook. A collec- 
tor's edition filled with photos 
from the best of Starlogs past— 
Star Wars, Star Trek, Superman, 
Battlestar Galactica— all the 
classics of film and TV in one 
fabulous volume! 


Stereo Views is a new exciting book which con- 
veys humorous and important experiences in 
3-dimensional photography. Delight as objects 
seem to jump off the page and pictures pulsate 
with illusionary spaces. The selected 34 ex- 
amples of this unique art form are from private 
collections and public resources. There is an ex- 
planation of stereoscopy and detailed notes for 
each picture. Two pairs of quality viewing 
glasses are attached inside each front cover. 
$7.95 + postage 


Decorate T-shirts with many of your 
favorite space heroes, rocketships and 
villains. This iron-on transfer book con- 
tains 12 full-page, full-color designs of 
the Galactica starship, Lt. Starbuck, Cap- 
tain Apollo, the friendly daggit, plus 
many others! $4.95 




Kodaks, "The world of Animation," is 

an authoritative guide for anyone who 
is interested in making animated films, 
it is jam-packed wrth tips on every 
aspect of film production and anima- 
tion technique. This in-depth guide 
book was prepared by Kodak especially 
for the animator who wants to make 
professional-quality animated films on 
"The world of Animation" 


•33 pages of complete blueprints for 
building your own animation stand. 
•A guide to all the Kodak films available 
for animation and when to use them!!! 
•A "how-to" guide for achieving all the 
major animation techniques!! 
•how to find work with a producer!!! 
•How to break into the business!!! 
•152 pages— full color through-out!! 



For years, Tim and Greg Hildebrandt 
have been delighting fans with their ex- 
quisitely whimsical depictions of fan- 
tastic characters in faraway places. In 
1978 the Hildebrandts held an exhibition 
of their works at the Maryland Funny- 
brook Festival. In honor of this spec- 
tacular show THE BROTHERS HILDE- 
was published. 

This glossy text contains full-color 
reproductions of many of the brothers' 
best-loved paintings as well as never- 
before published works. A lengthy and 
candid interview with the artists brings 
you into direct contact with the creative 
process as the Hildebrandts discuss their 

out of print. Only 7,500 copies of this col- 
lector's item were ever printed. Now, in a 
very special offer from STARLOG PRESS, 
you can be the owner of one of these rare 
copies. Send $8.00 plus $1.50 for postage 
and get your copy of this delightful art 
book while they last! 


From the third series of the classic 
science fiction television show, a 
side-splitting compendium of 
behind-the-scenes outtakes. 
Edited from six original on-set 
dialogue tapes (found in a 
Hollywood garbage can), this 
hilarious LP includes: repeatedly 
flubbed scenes, absurd dialogue 
mistakes, crack-ups— and features 
William Shatner, Leonard Nimoy. 
DeForrest Kelley and all your other 
Enterprise favorites! 

No Star Trek fan can afford 
to pass this up! 



Mail to: 


DEPT. S59 

475 ParK Avenue South 

New York, NY 10016 

Please send me the following: 

Skull $19.95 + $2.60 postage 

Communications Handbook $1 .50 + 

$.75 postage 
Robby Blueprints $3.00 + $.50 

STARLOG T-Shirt $6.95 + $1.05 


Posterbook #1 $1.50 + $.75 postage 

Posterbook #3 $1.50 + $.75 postage 

Posterbook #4 $1.50 + $.75 postage 

Posterbook #5 $1.50 + $.75 postage 

Celebrity Poster Heroes $1.50 + $.75 

All 5 Posterbooks $5.00 + $1.50 

Amazing World of Superman Book 

$5.00 + $1.50 postage 
Starlog Scrapbook $2.95 + 

$1.05 postage 
The Illustrated Harlan Ellison $8.95 + 

$2.00 postage 

Stereo Views $7.95 + $1 .50 postage 

"World of Animation" $7.95 + $1.25 

Galactica Iron-On Book $4.95 + $.50 

Hildebrandt Art Book $8.00 + $1.50 


Trek Bloopers $7.98 + $1.12 postage 

Atlantis Calendar $3.95 + $1.05 

Leonard Nimoy's Space Odyssey 

$7.98 + $1.12 postage 
Leonard Nimoy: The Way I Feel 

$7.98 + $1.12 postage 

The Films of Roger Corman 

$14.95 plus $1.05 postage (35<c each 
add'l book) 

NYS residents add sales tax 

Total Amount enclosed: $_ 







Craving for a little fun? Searching for high 
adventure in low places? Seek no more. You 
are here. 

fantasy modeling magazine has become 
the miniaturist adventurers handbook. No 
where else will you find such richly illustrated 
and clearly detailed articles on fantasy 
figures, role playing games, model rocketry, 
model building (kit bashing and scratch 
building), collectings ahtl creating creatures 
of the imagination. 

It is here, within the pages of fantasy 
modeling, that dreams become true. Ideas 
take form. Nightmares metamorphize into 
stark reality. You'll discover interviews with, 
and articles by, the brightest and best artists 
in the miniature figure and model fields. Such 
giants as Tom Loback, Glenn Kidd and Tom 
Meyer, Martin Bower, Dave cockrum, Willy 
Whitten and many more are regularly 
featured. Plus, you'll find out the latest on 
books, models, competitions, games, rockets 
and entrepeneurs. 

This is it. All the magic, all the art, all the fun, 
all the excitement, all the technique and all 
for you. 


Where a little means a lot. 


Send cash, check or money order to: DEPT. S59 1 


475 Park Ave. So. 
New York, NY 10016 

One year— S9.99 
(four quarterly issues) 

Foreign — $12.99 
(surface mail) 



■ Please allow 4 to 8 weeks for delivery of first issue. 

STARLOG/7«ne 1982 61 


For as little as $33.00 you can reach over one million SF fans, comprising the 

largest science-fiction audience in the world. 

DEADLINE: For STARLOG #61 —in our offices by May 12th. 

For STARLOG #62— in our office by June 9th. 
BASIC RATE: $11.00 per line (limit: 40 characters per line)MINIMUM — 

THREE LINES Punctuation symbols and spaces count 

as characters. Small Display ads: $90.00 per column inch 

(Camera-Ready ONLY!) 

HEADLINE: First line only— Word(s) of your choice (underline them) 

will be printed in BOLD CAPS. 

PAYMENT: Cash, check or money order must accompany ad order. 

(checks payable to STARLOG Magazine) 
MAIL TO: STARLOG Magazine, Classified 475 Park Avenue South 

New York. N.Y. 10016 

SELLING COMIC BOOKS, Disney, Hero and Sci- 
Fi pulps, Sci-Fi and Monster mags., James Bond, T.V. 
Avengers, T.V. Prisoner, "Star Trek", T.V. Guides, 
Playboys. Doc Savage, Items, Movie Pressbooks, 
Posters, Lobby Cards, Photos, books, etc. 1900-1982, 
Catalogs 95<t Rogofsky, Box SL 1102, Flushing, N.Y. 

SCI Fl, MONSTER, TV & Movie Magazines, Star Trek, 
1999, alien, Galactica, models, cards, TV Guides, etc. 
(catalog 75<t) Other cats: Sci Fi, TV & female star 
photos; Rock & Teen Mags; Playboy & other adult 
mags. $1.00 ea. The Back Issue, 28 Orchard St., 
Ridgefield Park, N.J. (Also Buying) 

FIREWORKS— Buy Direct. Just send $1.00 for 
catalog to: KELLNER Fl REWORKS CO.. P.O. Box 67, 
DeptA, Oil City, Pa. 16301 

DAVID AYRES STUDIO'S 1982 Cat-Folder. Foam- 
Latex Prosthetics, latex masks & Halloween acces- 
sories. Send $4.50 for Folder & 1 years sub. to flyers, 
to 204 N. Fraser Dr., E., Mesa. AZ., 85203. Only a few 


Card sets, comic books, etc.! Send 35<p for catalog! 
To M.D. 7629 W. Norridge St., H. Hts, III, 60656 

Av. Palo Alto Ca. 94301 (415) 328-6265 Free poster 
catalog for long SASE. 

of SF photos, audio tapes, scripts, slides, glamour. 
Send $2.00 to STILL THINGS, 13522 Henny Ave., 
Sylmar, CA., 91342 

BEST OF BRITISH: SF, Over 100 Dr. Who books & 
mags, 1999, 007, Rare stills, Prisoner, SF & Horror art, 
Records, Horror, Hammer, Trek, Retail & Wholesale. 
For catalog send $1US or 25p UK to" James, 17 
Byford Close, Stratford, London E154HP, England. 

STAR WARS Blasters, Light Sabers. Complete se- 
lection of replicas. Send $1 for '82 list to Marco Ent, 
293 Spruce, Anaheim, CA 92805 

dragons and creatures of the imagination Send $2.00 
for our catalogue to the Prop Dept. Bx 1607 Toms 
River NJ 08753 



Incredibly detailed, easy-to-paint metal cast- 
ings. Giant super space dreadnoughts (6" long) 
to small starfighters (Ms" long). Five different 
fleets with different weapons, designs, tactics, 
etc. Over 70 models in all! Space stations, for- 
tresses; special detailed but playable rules for 
wargaming. Galactic armor corps for each fleet. 
Complete sci-fi wargaming system. Command 
your own fleet! Form alliances! Conquer other 

Dept.SL39 Box 9 Belle Haven, VA 23306 



Tapes, Calendars & more! Free list. SASE. Mark 
Swaim, RT12 Bx104, Winston Salem, NC 27107 

JUPITER 2: LOST IN SPACE, You Saw It In Starlog 
#57-P. 39 Now You Can Own This And Other SF 
Classic Saucers! SendSASETo:ISPPOBox11 Oak 
Creek Wis. 53154. 

ATTENTION MODELERS: 10x14 blueprints for 
scratch-built models. All parts described 3 diff. for 
$2.25 + .75<p P&H: J. Bassham 311 Hushbeck Ave. 
Watsonville, CA 95706 

TELLIGENT LIFE HERE". Silkscreened on It. blue 
or beige T-shirt. 6.00 + 1.00 postage. Specify size 
(SMLXL) and color. Lizard Graphics 2726 N. 61 St. 
Omaha, NE 68104 


Create your own 
fantastic S.F. Movies. 

Film space scenes-lazers- 
ghosts. We tell you how. 

Send SI. 00 for Spec. Fx. 

information pack to:- 
Haimar -SL 
P.O. Box 474,Lewiston 
New York, W092, U.S.A. 



Caprica, long sase, I Joan Kokolus, PO Box 896 
Severna Park, MD, 21146, #1#2 AVAIL, Novels 

Stories/Credits/lnterview/Photos-SASE-$5 Re- 
serve-940 Visitacion/San Fran./CA 941 34 



475 Park Avenue South • New York, New York • 10016 


Cinefantastique ! Questar ! Film Magic! 
SPFX! Fantastic Films! And over 1 ,000 

more books, magazines and posters. 
Illustrated catalog with 48 BIG pages. 

Send $1 , refundable with first order. 

BUO PLANT '• PO Box 1886L, Grass Valley, CA 95945 


More! Nostalgic Audio/Video. . . Lowest Prices! 
Video Search Service! Info $1 .00 (Ret): LOF, Box 587, 
York, PA 17405 

SUPER 8 FILM CONTEST-Big Prizes-Warlord Com- 
ix/Film P.O. Box 2501 Renton, WA 98056 Free 
Catalogs (specify) Baseball Cards too 

164, WILLOWS, CA 95988 

SHATNER, NIMOY, TREK audio cassettes. Send 
2765 W. 5th St., Rm. 19E. Brooklyn, NY 11224. 


GALACTIC CLUB OF SF. Still #1! Publisher of 
GALACTIC JOURNAL. $5.75 or SASE for more info, 
1727 E. 93 ST, Bklyn. NY 11236. 

STARFLEET Wants You! Join the world's fastest 
growing ST club. For info, send legal SASE: POBox 
10363/Eugene OR 97440. 



MOVIES, 84 Roslyn Drive, New Britain, CT 06052. 

FICTION STILLS List #44; Clip Packets #19. Jerry 
Ohlinger's Movie Material Store, 120 W. 3 St. NY, NY 
10012 H. Ford #55 Open Every Day 1:00-8:00 PM 


"PLATFORM", the new SF short story by Gary Peter- 
son, is available in the collection "etal", for $5.95 + 
$1.50 p&h. Exposition Press, 325 Rabro, Smithtown, 
NY 11787 


details, please send long SASE to D-L Studio, 925 
Elm St. Bucyrus OH 44820 

CUSTOM COSTUMES! Experienced in design & 
construction. Send SASE to: STAR WEARS, P.O. 
Box 2290, Lincoln, Nebraska 68502 


Catalog Send 50c to, Sig Pictures 2045 Alaeloa St. 
Honolulu, Hawaii 96821 

62 STARLOG/June 1982 


If you are a young filmmaker with a 
special interest in science fiction, 
special effects and the limitless 
magic of the cinema . . . 



How to produce professional titles that 
move, charge color, melt, sparkle, burst 
into flames, zoom into space .all for a 
few bucks! 

Tired of square screens? Learn about in- 
expensive lenses and devices to make 
your picture W-l-D-E-S-C-R-E-E-N. 
Breakaway props for realistic fight scenes. 

Animation on your homemade stand. 
Build your own robots with electronic 
light effects. 

Make your own foam latex animation 
models, molds and armatures. . .and 
make them come alive! Glass paintings, 
matte box effects, split screens. 

Reviews of new equipment; lenses and 
optical gadgets for creating special ef- 
fects! Readers' forum— letters and 
questions exchanging techniques and 
production secrets! Step-by-step il- 
lustrated articles detailing methods you 
can use to create visual effects, makeup 
and sound FX. 


O'Quinn Studios, Inc. DEPT. S59 

475 Park Avenue South, New ybrfc, Ny 10016 


□ One year (6 issues) S9.98 
(U.S. and Canada) 

□ One year foreisn surface S14.48 

Enclosed, S 

Send cash, check, or money order drawn to 
O'Quinn Studios, Inc. 










Holographically imprisoned in a disc 
of glass, TransDimensions presents, the 
Minaton and the Incredible Hulk; the 
first two in a series of ornamental de- 
lights. No ordinary medallions, these. 
Hardly! They are THREE DIMENSION- 
AL HOLOGRAMS of horrific beasties 
and fantastical creatures. Untamable in 
the magical lairs from which they were 
spawned, they've be,en, nevertheless, 
and through the scientific wizardry of 
holography, rendered as harmless as a 
fly in an ice cube. Ha ha ha. What a pretty 
bauble they make in their light refract- 
ing prison cells. You'll marvel at the col- 
ors and lifelikeness of the poor things. 
Yes, it took some doing, sure, but Trans- 
Dimensions has finally and utterly cap- 
tured Harryhausen's MINATON and 
Marvel's HULK and can offer them to 
you in an AMAZING 3D Hologram at the 
meagerly low price of $7.95 plus 

You have only to order today and one 
or, Hark!, both can be yours. 


must possess 
_The Minaton 3D Holographic 

Medallion— $7.95 
_The Hulk 3D Holographic 

Medallion— $7.95 
_Both— $15.90 

Please add $2.50 postage and handling 
for each order. 

Total Enclosed $ 

Name . 





Mail to: O'Quinn Studios 

475 Park Avenue South 
New York, NY 10016 

(Allow 6-8 weeks for delivery) 


QThis rug§ed, handsome navy-blue cap 
is designed for maximum comfort and 
durability by The Thinking Cap Com- 
pany—creators of famous "Outland" 
and "Alien" headgear. 

^Adjustable size fits all heads— young 
and old. 

QEach cap comes complete with affixed 
STARLOG patch and officer's scram- 
bled eggs on the bill and is shipped 
First Class in protective Bubble-Pac 

QNot available in stores— a STARLOG ex- 
clusive! Order NOW for yourself and 
for gifts! 

QThe exclusive six-color embroidered 

v STARLOG patch can be purchased 
separately and includes instructions 
for permanent, iron-on attachment to 
clothing (no sewing required). 

Send cash, check or money order to: 

STARLOG Press dept. S59 
475 Park Ave. So. 
New York, NY 10016 

STARLOG CAP— $9.98 each 

(complete with patch & eggs) 

STARLOG PATCH— $4.98 each 

(includes instructions) 

Total for Merchandise $ 

Add Postage Charges $ 




CAP $2.50 (ea. addn'l to same address 75c) 
PATCH $1.00 (any quantity ordered) 


CAP $4.50 (ea. addn'l to same address $1.50) 
PATCH $1.50 (any quantity ordered) 

All Other Foreign 

CAP $6.50 (ea. addn'l to same address $1 .50) 
PATCH $1.50 (any quantity ordered) 








(continued from page 51) 

Nathan Juran as first cameraman on Jack the 
Giant Killer, producer Edward Small's 
copycat production of Harryhausen's The 
Seventh Voyage of Sinbad. Camera units 
were set up on a barge off Catalina Island 
where the picture was shot. Horsley filmed 
the background plates which were later 
turned over to Jim Danforth and crew at Pro- 
jects Unlimited, who combined them with 
rather mundane-looking stop-motion pup- 
pets. Other scenes were turned over to 
Howard Anderson for optical effects, and 
the seldom-seen film was released in 1962. 

Horsley then flew to Paris to supervise all 
of the blue screen shots for Daryl Zanuck's 
The Longest Day. The shots occupied over 40 
minutes of screen time — an incredible figure 
even by today's standards — and the work 
was so perfect, it remains virtually undetec- 
table. Due to a squabble with Zanuck's film 
editor, Elmo Williams, Horsley's name was 
removed from the credits. The effects won an 
Oscar for Robert MacDonald and Jaques 
Maumont. Horsley was flattered when the 
cinematographers paid verbal homage to him 
during the ceremony. 
Shortly afterward, he went to the Fox 

Studio, where he assisted L.B. Abbott on the 
blue screen stage and the miniature tank set 
for Voyage to the Bottom of the Sea. His last 
feature film work occurred in 1975, when he 
returned to Universal for a brief time as a vis- 
ual effects consultant on Midway under the 
recommendation of his good friend, Wes 
Thompson, who brought him out of 

David Stanley Horsley without question 
had one of the most brilliant minds in the 
history of the film business. But, like many 
geniuses, he was grossly misunderstood by 
the world around him, even by his peers. He 
often spoke in mathematical terms and was 
essentially a frustrated physicist with a strong 
affinity for the metaphysical. He was equally 
at home with the zodiac as with a textbook on 
advanced trigonometry, which made him all 
the more enigmatic. 

To say that Horsley was way ahead of his 
time is the epitome of understatement. In the 
forties, he tried desperately to convince major 
studios that front projection systems were 
feasible, and demonstrated its possibilities in 
conjunction with the 3M Company. Studio 
execs listened with closed ears. He urged in- 
ventor/MGM sound department head Doug 
Shearer to develop and exploit a repeatable- 
move camera system, but found Shearer 
shortsighted and unaggressive. In the fifties, 
he designed and patented, at a personal cost 

of $35 ,000, an electronic motion picture prin- 
ting unit that companies like Information In- 
ternational are presently experimenting with. 
He foresaw the scanning of film information 
onto video cassettes for home use long before 
"Betamax" became a household word, spoke 
at length about video images transposed to 
"phonograph records" and decoded by laser 
beams years prior to MCA's development of 
Disco Vision. 

The end was rather sad. After the death of 
his wife in 1969, Horsley lived the life of a 
recluse in a modest seaside house in Encinitas, 
California, divorced from the profession he 
loved but lost heart over. A few close friends, 
including Wes Thompson and Don & Beverly 
Betts, kept tabs on him. An oral history of his 
life conducted by this writer was completed 
for The American Film Institute in 1974. But 
he aged rapidly, and an abuse of alcohol and 
tobacco accelerated his mental and physical 
deterioration. He died of cancer and a lung 
ailment in a Los Angeles hospital in October 
of 1 976, just two months shy of his seventieth 

Toward the end, Stan Horsley told me in 
confidence that his greatest goal was to 
outlive his father, the most influential figure 
in his life. He managed to achieve that goal. 
Both father and son were pioneers. Both left 
indelible marks on a town and industry they 
settled in and worked for religiously. * 

Star Trek 

(continued from page 33) 

still Star Trek. It still possesses all fantasy 
values of the old show. It still has Trek's 
slightly campy edge. I mean, every episode of 
the old show, you were always expecting the 
crew to buy it at the end of the episode. But, 
there, in the final shot, was Kirk giving his 
smug little smile, saying T knew we were go- 
ing to win all along. ' This film has that style. ' ' 

Anything Can Happen 

Star Trek not only inherited the style of the 
original TV show but the determination as 
well. Once the cameras started to roll, 
nothing could shake the unflappable crew on 
the closed set. . .not even the public furor 
surrounding the rumors concerning the possi- 
ble death of Mr. Spock. 

"No one thought about it too much," 
Merritt says, downplaying what was a major 
publicity hurricane in the outside world. "We 
knew about the threatened -boycott and 
everything but, heck, I can't take that 
seriously. Even if Spock did die and everyone 
knew it before time, people would still go to 
see the movie to find out how he dies. I don't 
think that people will refuse to see a movie 
because a portion of it is finalized that they 
dcm'iwant finalized." 

"Besides," he adds cryptically, "the 
original series was created because, story- 
wise, anything can happen in space. So, there 
are really no final moments for anyone or 
anything. There's always the chance that 

we're misinterpreting what we believe are the 
facts. Look at Obi- Wan Kenobi's death in 
Star Wars. He's cut in two by a sword stroke. 
What happens? He comes back as a guiding 
force, a guardian angel. I think the whole 
Spock controversy energized all of us on the 
set. It gave us more drive. We were deter- 
mined to best our critics." 

"The Spock rumors didn't affect us too 
much," adds Alley, "but, boy, did we get 
caught up in the studio security bit. They 
made it very clear to us that no one was to talk 
about the script. I figured that if I talked 
about it, I'd be left in space somewhere. . . 
either that or be forced to shave my head for 
the role! 

"We also had a big security problem with 
our props. Everything was stolen! Scripts. 
Pens. Federation stuff. You'd turn around 
and half of your j acket would be gone . We' re 
talking major zippers disappearing. After a 
while, it got to be exciting coming in every day 
just to see what was left on the set. You'd try 
to figure out who the spies were." 

With Trek now being edited and excite- 
ment at Paramount mounting (there's 
already talk of a Trek III— which Nimoy has 
vowed to star in — as well as a proposed Trek 
film a year ad infinitum), the two actors are 
eagerly awaiting new challenges. 

For Merritt Butrick, it's the chance to 
branch out. "I want to play a rock and roller 
on film" he beams. "That would be pretty 
cathartic. I mean, on TV, I've done all the 
muggers and rapists. I think I'm ready for 
rock and roll." 

For the effervescent Alley, a whole new 
lifestyle may be in the works as a result of her 

Trek. "Now that I'm actually apaid actress, " 
she laughs, "I can say words like 'dahlink.' Is 
that OK, 'dahlink?'" 

"As for the future, diversification is my 
main objective but I definately won't work 
anyplace that has doughnuts." 

And, should the Enterprise lift off again 
for a third film by year's end, both actors are 
interested in continuing their roles. 

"I'd love to do the next film," Butrick 
states. "No one is quite sure whether I'm hav- 
ing a romance with Saavik or not at the end of 
this film. Obviously, you can't look at this 
woman without reacting with a sense of awe 
but Marcus is awfully inexperienced. 

"I'd like to explore all of this film's little, 
unanswered questions in the next film. Will 
Saavik and Marcus relate further? How will 
the two of us , as the new members of the Trek 
family, fit in? Will her being Spock 's protegee 
and my being a Kirk-like personality repre- 
sent a whole new generation? I'd love to find 
all that out!" 

"You know what I'd love?" Kirstie asks. 
"Not only would I love to do another Trek 
movie but I'd love the Star Trek fans to 
welcome me into the fold. I'm not the kind of 
person who hates fan mail and I think the 
Trek fans are incredible. They've carried the 
show's banner high for years. 

"I'd like the fans to say that I fit into the 
clan and that they respect me for it. I 
wouldn't mind a few of them saying that I'm 
kind of pretty, either. If I get a few guys say- 
ing 'She's not bad looking, folks,' I wouldn't 
mind it at all." 

She badly stifles one final laugh. "We're 
talking outer space beauty, here, guys." 

64 STARLOG/y«/je 1982 


(continued from page 21) 

happens. If you fall off, we'll film it. If it bites 
you, we'll film it. Now, ride.' 

"That attitude really motivated us. You 
felt a strong sense of leadership. It was nice 
not to worry about the stunts too much. The 
athletes appreciated John's strength a lot. We 
had professional boxers, karate champs and 
football players in this movie. They all felt 
like they were part of a team with John calling 
the shots. Milius is a very direct man." 

"It did get very tiring, though," Sandahl 
adds. "The battle scenes used to drain me. 
Killing people is not easy. Whenever my 
character kills people, she kills en masse. She 
never takes out one measily warrior. She 
takes out a whole horde. You'd have to do 
these scenes over and over again. I could 
hardly lift my sword after a while. 

"The scariest scene for me was one where 
we had to scale a tower to Thulsa Doom's 
chamber. The tower was about 40 feet high. 
They rigged us all with safety harnesses but 
kept them loose so we'd really have to crawl 
up the side of this thing. 

"Now, I'm afraid of heights. It wouldn't 
have been so bad if I could have just kept star- 
ing straight up but John wanted this to look 
really dangerous so we had to keep glancing 
down every other minute. My character, try- 
ing to outdo Conan, takes the lead. We're 
scaling this tower, looking at the ground and 
I'm petrified. It scared the living daylights out 
of me. By the time I got to the top, I was 

' 'There was another scene where, after res- 
cuing the princess, we have to get down the 
side of a mountain at full gallop. The moun- 
tain path was, by no stretch of the imagina- 
tion, wide. If the horse slipped, you were off 
the side of the mountain and on your way to a 
spectacular splat. There was not one moment 
where you could doze off in this movie. You 
were always working with a horse, a sword or 
leaping over something or somebody. You 
had to be alert all the time." 

Aside from the physical bruising involved, 
the filming of Conan the Barbarian went fair- 
ly smoothly. Nick Allder's hydraulic snake 
successfully (and realistically) tossed 
Schwarzenegger around a set like a toy. The 
various makeup effects were pulled off 
without a hitch and, after six months, the 
team wrapped up the production and headed 

Conan the Barbaric? 

Conan the Barbarian was originally 
scheduled to open in December of 1981. 
When the film was subsequently bumped 
from the Christmas season and re-scheduled 
for May of 1982 rumors immediately began 
circulating in Hollywood that director Milius 
had killed his chances for a holiday release 
because of filming excessive bloodshed. It's 
too bloody for families, whispered his detrac- 
tors. It's a feast for carnage lovers. 

"Let me catagorically deny that this movie 
is a bloodbath," says Ed Summer from his 

office at Universal Pictures in New York. 
"It's more of a Raiders of the Lost Ark high 
adventure, a film in tune with summer 

"The film was not released in December 
because, very simply, it was not ready. There 
were three editors working three shifts in 
order to cut the movie. Milius, in a 
remarkable act of good faith, showed a rough 
cut of the film to some theater people last fall. 
It ran about two hours and 45 minutes. Now, 
everyone should know that a rough cut in- 
cludes footage that will later be excised. 

"For example, in John's second cut, the pit 
fighting scene ran six minutes. In the final 
film it's down to about two. It takes time to 
whittle things down. In the rough cut, if 
someone was stabbed, the scene ran a bit too 
long. Either someone at that screening or 
someone in touch with someone at that 
screening took that aspect and exaggerated it, 
getting a nice news item "out of it." 

"I don't think it's a violent film," says 
Sandahl Bergman. "I'm not a violent person 
and I don't enjoy watching violent movies. 
Conan is fantasy, pure and simple. When you 
walk into the theater and see people dressed in 
fur and leather battling neanderthals, the 
reality of the violence goes right out the win- 
dow. The movie becomes larger than life. 

"Sure, there's killing in it. We all had to 
wear blood bags and take a lot of time getting 
our hits right but, watching this movie, even 
with all the blood, you just can't relate to it on 
a personal, traumatic level. People are swing- 
ing swords at each other. How often does that 
occur in your every day life?" 

"John knew right from the start that he'd 
be criticized about the violence," says Ron 
Cobb. "But you can't escape the violence. 
It's part of the mystique of this particular fan-' 
tasy. It's part of Conan's image. John was 
realistic about shooting scenes so he could 
remove levels of violence later and assure 
himself an R rating. He didn't want an X. All 
the violent scenes were shot so they could be 
toned down, fine tuned. Violence, however, 
is definitely not the point of the film. It's one 
part of the overall texture." 

"It could have been a lot bloodier than it 
is," offers Schwarzenegger. "I was really 
amazed at how little blood and violence was 
filmed. John filmed the violence very 
realistically but not in an exploitative fashion. 
It's an action-packed adventure movie. It's 
very magical. What violence there is in it 
reflects this unknown time period. It's very 
samurai-like. I remember back when we were 
training, John gave me a tape of the movie 
The Seven Samurai and told me to watch it 20 
times before we began filming. I did. When 
you see the final movie, you'll realize why." 

Conan the Hero 

With four more Conan movies hanging in 
the balance, can Conan the Barbarian, the 
prince of 1930s pulp, prove a successful role 
model for 1980s movie audiences? 

Ed Summer thinks so. "He's a timeless 
character," heopines. "The original Howard 
stories were very much of their time, of the 
1930s. They were magical tales of a very 

powerful hero characterized by a wonderful 
kind of purple prose. 

"The stories stood out because they were a 
little tougher than the rest of that type of fic- 
tion, a little more risque. By today's stan- 
dards, however, I think we'd find Conan a bit 
Victorian. He's as moral as a boy scout in 
some ways. He's very protective of his 
women. He never takes advantage of 

"But part of his appeal, even in modern 
times, is that he takes very direct action. We 
live in a world that's becoming increasingly 
complex, where the decisionmaking process 
is getting more and more convoluted. Look at 
the modern court systems. Taking legal ac- 
tion against someone is an exceedingly com- 
plex, expensive and time consuming process. 

"Conan deals with things head-on. In one 
Howard story, Conan finds himself before a 
judge after killing one of the King's guards. 
The guard was about to do in one of Conan's 
friends, someone who'd saved his life, and 
Conan, naturally, defended his friend. The 
judge gives him a big speech about how im- 
moral it was of Conan to kill the guard. Co- 
nan just stands there. 'Here was a friend of 
mine, someone who had fed me and sheltered 
me and saved my life. His life was in danger. I 
saved his life. Now, a judge tells me that my 
actions were wrong. Obviously everyone in 
this courtroom is mad. I seized my sword and 
slew them all.' 

"I find that a very appealing story. It's like 
cutting through red tape literally. 

"Conan's morality runs very much in that 
direction. He makes decisions based upon ex- 
pediency and devotion. He has a god that 
doesn't help him, that doesn't care. That's a 
very existential situation, similar to what 
Camus wrote about in The Myth of Sisyphus. 
Conan can't find the meaning in life. He lives 
to fight, to feel the blood pounding in his 
veins, to drink good wine, to be with lusty 
women. That's what he lives for. He has no 
hope for an afterlife. 

"This movie has a lot of integrity. It was 
made with great love, devotion and intensity. 
It's not a sword and sandel picture. It's not 
Hercules in the Haunted Bathroom. 

"You don't have to appreciate the film's 
intelligence to enjoy the movie. But the more 
perceptive people in the audience will leave 
the theater thinking about story ideas as well 
as being entertained." 

Perhaps Arnold Schwarzenegger sums it 
up best when he says, "This picture will be a 
winner because Conan is a winner. There's a 
combination of characteristics that appeals to 
different people. I think women appreciate 
Conan's vulnerability. He's an innocent, in a 
way. He doesn't win every time. He's not a 
Superman or a Hercules. Kids like the fact 
that he's strong. He's a fighting machine. 
Some other people respect him for his mental 
strength. He has a goal of revenge and he 
follows through with it." 

He pauses for a moment, "/like Conan. 
He's a man of honor. His whole life revolves 
around strength . . . strength of body, mind 
and spirit. In the long run, there's no way he 
can ever lose." + 

STARLOG/7u/7e 1982 65 


Editor's Note: This month I've turned the "Lastword" over to author Norman 
Spinrad and his eloquent obituary for his fellow author and friend, the late 
Philip K. Dick. — HZ. 


"Imean, after all, you have to consider we're only made out of dust. That's 
admittedly not much to go on and we shpuldn 't forget that. But even consider- 
ing, Imean it's sort of a bad beginning, we're not doing too bad. So I personally 
have faith that even in this lousy situation we're faced with, we can make it. You 
get me?" 

—Philip K. Dick, The Three Stigmata of Palmer Eldritch 

"The thinkers of antiquity did not regard death per se as evil, because death 
comes to all; what they correctly perceived as evil was premature death, death 
coming before the person could complete his work. " 

— Philip K. Dick, The Transmigration of Timothy Archer 

It is one measure of the greatness of the man that only Phil Dick's own words 
have the wisdom to rouse me out of my anger and despair far enough to at- 
tempt the ghastly task of a public farewell. 

Phil Dick in one sense died an evilly premature death at the age of 54, and 
when you read his final posthumously published novel, The Transmigration of 
Timothy Archer, you too will curse the cosmic injustice that cut him down with 
a lightning bolt at the peak of his powers. He did not live to complete his work 
and fall silent or to decline into literary senescence. 

But what he had already accomplished will certainly be considered a life's 
work completed in an artistic and spiritual sense when the history of 20th cen- 
tury American literature is finally written from a 21st century perspective. With 
the passage of a few decades and the wisdom of hindsight it will gradually 
become apparent that Philip K. Dick was the greatest American novelist of the 
second half of the 20th century. 

A large statement? 

A large body of work. A very big man. A grand spirit. 

Philip K. Dick wrote more than thirty novels. It is generally agreed that about 
ten of them achieve the greatness of Phil Dick at the top of his form and the 
other twenty or so are more minor works. But there is no general agreement on 
which ten they are! The fact is that all of Phil's novels were written by a literary 
genius in a state of artistic sincerity and spiritual grace, by a man who simply 
didn't know how to be anything less. They only divide into greater and lesser 
works in comparison to each other. 

There really isn't anything to compare them to. Philip K. Dick was the 
greatest metaphysical novelist who ever lived. Even comedies like The Zap Gun 
and Galactic Pot-Healer were metaphysical comedies. Each of his novels con- 
structed its own unique nature of ultimate reality, no two of their visions of the 
cosmos were entirely the same, yet each was informed with a sense of sincere 
belief. Perhaps you have to read all or most of the Dick canon before he finally 
brings you to the comprehension that this is exactly the point. 

What made him the greatest metaphysical novelist who ever lived and not 
merely the most productive and skillful was that which also ultimately unified his 
multiplicity of visions into a grander and greater whole— the total humanity 
which informed everything he wrote and did. 

Universes fragment, realities fracture and multiply, but human virtues are 
functions of the best that is in the human spirit, rather than being determined by 
the circumstances in which we find ourselves. In the universe of Philip K. Dick, 
people carry on in a caring manner no matter how paranoid or dire the circum- 
stances, and even deities sometimes have to appeal to our better natures to help 
them out of a pickle. 

Then too, no contemporary of Dick's has dealt so carefully and respectfully 
with the work his characters do. The heroes and heroines of his novels usually 
have to work for a living and the work they do generally has positive meaning 
for them in and of itself. 

In The Transformation of Timothy Archer, a character's Christlike innocence 
is portrayed to moving effect through his technical discussion of the virtues and 
flaws of various makes of car. No amount of technique not informed by Philip 
K. Dick's own omnipresent caritas could have made such a thing work. 

Yes, Phil's death at the age of 54 was the sort of cosmic injustice that makes 
his friends and readers rail at the malignity of God or the cruelty of a blind ran- 
dom universe. But Phil himself never believed in a reasonless and loveless crea- 
tion. And no one ever left us more to turn to for enlightenment when things 
start turning black. 

While his life was tragically short and his death certainly premature, I think 
Phil himself would tell us it is a story of human triumph, not of tragedy. 

I last spoke with him about a week before his stroke. Films of four of his 
novels were in various stages of production, most of his books were in print or 
coming back, he had seen the galleys of The Transmigration of Timothy Archer 
and could bask in the good advance notices, after the usual decades of writerly 
struggle, he was finally rich enough to give large sums of money to charities, he 
was about to go to Europe as guest of honor of the Science Fiction festival put 
on by the city of Metz, and he was feeling great. He at least lived long enough to 
taste it. To reap the well-deserved harvest of mighty labors truly and nobly and 
lovingly performed. 

So maybe, as Phil would have had it, we who are faced with even this lousy 
situation can make it. Do I get you, Phil? Have you gotten me through this one 

— Norman Spinrad 

66 STARLOG/7u«e 1982 



Okay SF fans, this is it! Next issue we celebrate our sixth 
year of publication with an incredible 100-page block- 
buster, including 64 pages of full color. 

There will be exclusive feature coverage of the new Star Trek 
film that takes you behind-the-scenes, and an interview with the 
director of the new The Thing, John Carpenter. We'll have a 
fascinating inside look at the creation of an electronic fantasy, 
as we speak with the artists working on Disney studios' upcom- 
ing TRON. But that isn't the end of our special effects cover- 
age: there'll be an in-depth feature on the career of Albert 
Whitlock, the visual FX supervisor who is best known for his 
matte artistry in such films as The Birds, Diamonds Are For- 
ever, Airport '77, High Anxiety and The Wiz. 

Plus, we'll have a special feature on Blade Runner — an inter- 
view with director Ridley Scott — and the conclusion of John 
W. Campbell's brilliant SF/chiller, "Who Goes There?" 

And in our special 36-page full-color Anniversary Section 
we'll have the following goodies: A review of the SF and fan- 
tasy films and TV shows of the past year; an interview with art- 
ist Chris Achelios and a portfolio of his work; an index to the 
past 12 issues of STARLOG; a survey of home computer/video 
systems and the latest in SF toys and games; anniversary greet- 
ings from the greats in SF and fantasy. And of course we'll 
have our regular columns from Bjo, David Gerrold and Ron 

And there's more — but there's no more room here to tell you 
about it. STARLOG #60 will be our most spectacular package 
yet — we're sure you won't want to miss it! 


on sale 

JUNE 3, 1982 


Latest Releases 




Mill NCI IU tM)N. AI! 

yXJlFWtM IJtfflOfl l0{k.iNMlfl 



$8.95, 96 pages 

Modern computers and electronic 
systems come of age in SF and Fan- 
tasy films. Discover Hi-Tech filmmaking, 
SFX secrets, exclusive color photos, 
on-location interviews, 3D, super-wide- 
screen, multi-sound and SFX into the 

All Books In This 
Special Series 

• Quality high-gloss paper. 

• Big 8'A"xll" page format. 

• Rare photos and valuable 
reference data. • A must for 
every science fiction library! 

• Available at Waldenbooks, 
B. Dalton Booksellers and 
other fine bookstores. Or 
order directly, using the 
coupon below. 


Science Fiction, Adventure and 

Superheroes $7.95, 96 pages 

A complete listing of 12 fabulous 
science fiction, adventure or superhero 
series. Each chapter includes 
(a) complete plot synopses (b) cast and 
crew lists, (c) dozens of rare photos, 
many in FULL COLOR 


(new enlarged edition) 
$7.95, 96 pages 

The most popular book in this series 
has been expanded to three times 
the pages and updated with dozens 
of new photos. from every movie and 
TV show that features spaceships-the 
dream machines! Many in full color 

$3.95, 34 pages 

From Flash Gordon to Luke Skywalker. 
here is a thrilling photo scrapbook of 
the most shining heroes in science- 
fiction movies. TV and literature. 
Biographies of the men and women 
who inspire us and bring triumphant 
cheers from audiences. 

96 pages, over 2CO photos 


SPACE ART $8.95 

($13 for deluxe) 

196 pages, full color throughout 

96 pages, full color throughout 


34 pages, full color throughout 

ROBOTS $7.95 

96 pages, full color throughout 

$3.95, 34 pages 

_HEROES $3.95 

-VILLAINS $3.95 


^WEAPONS $3.95 

__TOYS & MODELS . .$3.95 
1 Add Postage for Above: 
' _J3rd Class SI 00 ea. 

_Jst Class §1.25 ea 

—Foreign Air $2.25 ea 

-Regular Edition . . .$8.95 
—Deluxe Slipcase 

Edition $13.00 

Add Postage for Above 
_U.S. Book Rate S2 00 

US Priority: 

_ Rea. Edition ■ $2 50 

—Deluxe Ed $3.30 

Foreign Air: 
_Reg. Edition.. $7.00 

_ Deluxe.B(» $8 50 


(new enlarged edition) 

GUIDES, Vol. I $7.95 

^ALIENS $7.95 

WORLDS $7.95 

.ROBOTS $7.95 


_Vol. I $6.95 

_Vol. II $7.95 

-Vol. Ill $8.95 

Add Postage for Above: 

_3rd Class $1.55 ea 

-1st Class $1.75 eo 

-Foreign Air $2 50 ea 

Add postage to your order: 

Send to: 


DEPT. S59 

475 Park Avenue South 

total enclosed: S 

NYS residents add sales tax 

Please allow 4 to 6 weeks for delivery of 3rd Class 

mail. First Class delivery usually takes 2 to 3 weeks. 






ONLY U.S., Australia and New Zealand funds accepted. 

Dealers: Inauire for wholesale rates on Photo Guidebooks. 

NOTE: Don't want to cut coupon? Write order on separate piece of paper. 

In the future, 

dtles will become deserts, 

roads will become battlefields 

and the hope of mankind 

will appear as a stranger. 

Starring MLL GIBSON Musk by BRIAN MAY 



ttll ,c-..,.ir : [XJi""=